This monoprint took a while to get going – the stark contrast between the red and black and the middle part with little in the way of openings didn’t give me any hints of where to start. But this impenetrable surface eventually steered me towards using the central enclosed space as an area from which tentacles/veins could flow out and into. I wanted also to keep the work ‘organic’ and tactile. At the end of the process I toned down the red slightly although the colour is still a ‘bit in you face’.
What it says on the tin! Inspired by a photo taken in the archipelago on the east coast of Sweden, and trying not to think of Turner’s mastery, this what the end finished product looks like. The colours seem un-naturally bright but are actually somewhat toned down. I think I most like what I did with the sea, it sort of balances the activity going on above.
Oil on canvas.
So moving on from Wave, which was painted on a loose piece of canvas, this smaller work is on a stretched frame. Working by manipulating very runny acrylic paint and letting it dry between the application of different hues, I placed the stretcher on the floor by a window and, with the sun shining through, noticed that the mullions cast a lovely shadow which added depth to the painting. I quickly grabbed a brush and thinned Payne’s Grey and captured the shadow. Several layers later this is the end result.
The inspiration for this work was a photo of a storm cloud hovering over the archipelago outside Stockholm. However, as the work progressed the cloud turned into water and I decided to heighten the ‘wateriness’ with each layer of acrylic paint. This was done by adding very diluted paint and tilting the canvas to steer the colour over the surface.
I seem to not being able to change the organic, ‘dotty, and ‘flowing’ way of drawing. And yes, red is also a prevalent feature. With Flow I just had to stop – don’t think another spot of colour would improve the final work! Next piece – maybe all in grey …..