Acrylic, ink, enamel, graphite and paper collage on raw canvas with gallery-wrapped edges over hardwood panel (also looks great in float framing). This layered stain painting is offered unframed and ships ready to hang. Titled and signed on back; ships with certificate of authenticity.
All my paintings begin with a singular color intention. Grounded on raw textiles with their nubby, imperfect, and unpredictable texture, initial marks immediately stain the surface, and I embrace and connect the elements as I work my way forward. Despite the soft-handed, almost suede-like, appearance of my finished paintings, my application methods are often frenetic and rough, including intentional distressing to reveal contrasting underlayers. Closer up, one will discover random, intuitive marks and occasional brush hairs left behind in evidence of the brisk application.
I employ a wide range of layered pigment based media that allow a striking sense of luminosity in my finished works. I often also incorporate layers of paper in still-wet puddles of paint which, once cured, produce an altered surface that faintly filters the viewer’s perception of color and distorts the light reflectivity, enhancing the ethereal effect. Nuanced, filtered color deviations are intended to elicit an immersive, emotive association unique to each individual viewer. This particular painting incorporates salvaged pages from a damaged, antique book.
Acrylic, ink, enamel, graphite, book paper on canvas over wood
£1,853.79
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Acrylic, ink, enamel, graphite and paper collage on raw canvas with gallery-wrapped edges over hardwood panel (also looks great in float framing). This layered stain painting is offered unframed and ships ready to hang. Titled and signed on back; ships with certificate of authenticity.
All my paintings begin with a singular color intention. Grounded on raw textiles with their nubby, imperfect, and unpredictable texture, initial marks immediately stain the surface, and I embrace and connect the elements as I work my way forward. Despite the soft-handed, almost suede-like, appearance of my finished paintings, my application methods are often frenetic and rough, including intentional distressing to reveal contrasting underlayers. Closer up, one will discover random, intuitive marks and occasional brush hairs left behind in evidence of the brisk application.
I employ a wide range of layered pigment based media that allow a striking sense of luminosity in my finished works. I often also incorporate layers of paper in still-wet puddles of paint which, once cured, produce an altered surface that faintly filters the viewer’s perception of color and distorts the light reflectivity, enhancing the ethereal effect. Nuanced, filtered color deviations are intended to elicit an immersive, emotive association unique to each individual viewer. This particular painting incorporates salvaged pages from a damaged, antique book.
Acrylic, ink, enamel, graphite, book paper on canvas over wood
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