This is a complicated one to describe. I started out by painting a random shape that I thought looked like a desert rock formation or perhaps a Dr. Seuss drawing. It developed over time with dots, squares, rectangles, and drips. My photographer friend who is very well acquainted with Portland, our local coastal prominence, said it was pretty much a map of the coastline so I was inclined to keep it as it was for a year or so.
Apache started out in fluorescent paint and I gradually added dots, drips and gold leaf strips left over from my late dad’s bookbinding/embossing projects. It was laced with gold and goodness, but yet it wasn’t resonating with that special something…
Then, later this year, after my exhibition had come and gone, with the bravery of a warrior, I took to this with black paint! My ethos and my understanding are that, if you don’t like it, do something with it. That means its obliteration time! Fortunately, I was in a good mood and seemed to know when to stop. This doesn’t always happen, so I was delighted when ‘Apache’ found itself. Interestingly the layers of the underpainting are still fully visible in the rich texture of the piece, which means not only is it now a very unusual painting but has got that special vibe of wildish freedom, and THAT is what it’s all about!
Oh, and about ‘Obliteration’… that’s the best part of my work, but used to be the worst, ever! More about how I approach that process in a later blog.
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It’s time to let go when it’s time to let go. The art of Surrender is difficult for most of us and it alludes to the Buddhist tradition of non-attachment.
This painting was done over a few months with many reworks and lots of daring ‘obliteration’, which I will document for you later. I was particularly inspired by DeKooning for this one and his relentless layering and the building of texture.
It is scary to obliterate an original image, but the rewards of a more developed painting with a history and lots of intrigue behind the surface are well worth the struggle. This is currently one of my proudest achievements in painting.
Credit for inspiration must also go to Barnett Newman of ‘Zip’ fame. Check out his work and that of the other artists I have referenced below, but please leave a like before you go if you enjoyed this post and found it useful. 🙂
I can’t say too much about this painting’s inspired origins because it’s wildly personal, suffice to say, it really happened;)
Much of my work is autobiographical and draws from direct experience represented in the wild clashes of color and reflective materials that I frequently use. It really does look like my life when I’m on a creative bender, which happens from time to time.
I work best when inspired by life itself, and there is nothing like being entangled with someone you shouldn’t be, to get the neurons racing.
It’s kind of about sex. yeah. It is… but it’s divine!
Acrylic on canvas
36 x 48 in
To see this work in person please call me directly: 07536115930
I started “Grace” on Christmas day 2017 and it emerged chunk by chunk until the new year…
It really does represent what I was feeling at the time; like the worlds were needing to be held up lest they crush me as I dance through the hard grind of the dark festive season, trying desperately to maintain my ‘jolly’ status. You know the feeling.
It felt like a very primal painting to make, it was very spontaneous and I spent very little time editing. It all came out fully formed and I enjoyed the childlike splodges of paint enough to admonish myself to leave them be!
It’s too easy to overwork a painting and sometimes is good to step away, straight away! The only things that came later were the defining outline and the gold leaf, which of course is an homage to Klimt.
This amorphous dancing being has the best gold pants which shine brightly in the sunlight. However, it is super hard to get a good photo of shiny stuff, so you just have to come and see it in the flesh!
Please come and view the painting for yourself by making an appointment.