A blank canvas gets tripple gessoed (primed and sanded in between coats). Then the
creative works starts...establishing tonalities, colour values and thin layers of paint are
freely establishing tonalities, colour values and thin layers of paint are freely applied here.
This in turn leads to light and shadow layouts. Before building up these tonalities, I
sometimes leave inner shapes “soft” and open. Textures would be applied with broad
brushes and palette knives. These textures vary in direction, shape, size and coloration,
according to what they represent. The result is an uneven, vibrant textured surface
imbued by the various movements of light that fall on the painting.
In some paintings, this impression is heightened still further by the use of coarser canvas
and broad brush strokes that were old and unevenly worn. Small Japanese Katana
swords are used with the use of palette knife for heavy buildups.
Much of my art is about multiple layers as scores of underlaying colours and shadows
reveal themselves to the viewer.tt
creative works starts...establishing tonalities, colour values and thin layers of paint are
freely establishing tonalities, colour values and thin layers of paint are freely applied here.
This in turn leads to light and shadow layouts. Before building up these tonalities, I
sometimes leave inner shapes “soft” and open. Textures would be applied with broad
brushes and palette knives. These textures vary in direction, shape, size and coloration,
according to what they represent. The result is an uneven, vibrant textured surface
imbued by the various movements of light that fall on the painting.
In some paintings, this impression is heightened still further by the use of coarser canvas
and broad brush strokes that were old and unevenly worn. Small Japanese Katana
swords are used with the use of palette knife for heavy buildups.
Much of my art is about multiple layers as scores of underlaying colours and shadows
reveal themselves to the viewer.tt
I mix my own colours. Not satisfied with the primary colours, long ago I began searching for
more exotic colours. Often I find pigments from Equatorial plants, dried and grinded to a
pulp which I add to existing professional paints. I heat my paints with a torch, stretching
them to their physical and formal limits. This requires close observation, quick reflexes and
keen timing. These spontaneous effects of strayations involve risk. Mistakes made at this
stage result in lost works which can not be retrieved through correction. In many ways this
process communicates a sense of freshness and instant creation. The "Liquid" series
especially has flowing lines and spontaneous curves indicating energy and forward
movement.
more exotic colours. Often I find pigments from Equatorial plants, dried and grinded to a
pulp which I add to existing professional paints. I heat my paints with a torch, stretching
them to their physical and formal limits. This requires close observation, quick reflexes and
keen timing. These spontaneous effects of strayations involve risk. Mistakes made at this
stage result in lost works which can not be retrieved through correction. In many ways this
process communicates a sense of freshness and instant creation. The "Liquid" series
especially has flowing lines and spontaneous curves indicating energy and forward
movement.
I paint in both Oils and Acrylics, combining them by using a highly skilled technique to
facilitate the bonding between the two different medium. This is sometimes referred to as
"Mixed Medium on Canvas" , although this term is more confusing as it also used for plaster,
paper etc. A special bonding chemical is used to allow the 2 mediums to adhere to each
other.
4. Ultra Violet protective Polyurethane:
Unlike the properties of acrylics, oils do not have UV protection inherent in the paint. Ultra
Violet blocking varnishes and/or resins are applied after the curing time. This protects the
art work throughout the ages. This special coat will not yellow or crack with time, and
forms a protective barrier against dust, smoke and other particles. It is also a screen if a
beam of sunlight hits the painting through the window.
Unlike the properties of acrylics, oils do not have UV protection inherent in the paint. Ultra
Violet blocking varnishes and/or resins are applied after the curing time. This protects the
art work throughout the ages. This special coat will not yellow or crack with time, and
forms a protective barrier against dust, smoke and other particles. It is also a screen if a
beam of sunlight hits the painting through the window.
5. Finely grind glass:
And now the piece de resistance! Following the tradition of the Italian Masters in the
Renaissance I mix fine grinded glass with my last few coats of varnish. This enhances
the vibrancy of the colour when a direct beam of light is focused on the painting. The glass
is of the highest optical grade quality to be found in the most advanced astronomical
telelscopes and cameras allowing 97.8% clarity. Those molecular particles act like a
prism whereby the light is refracted. This may have more to do with photons and the
physics of light than art, but it makes for a spectacular effect. A touch of light goes well with
all my paintings.
And now the piece de resistance! Following the tradition of the Italian Masters in the
Renaissance I mix fine grinded glass with my last few coats of varnish. This enhances
the vibrancy of the colour when a direct beam of light is focused on the painting. The glass
is of the highest optical grade quality to be found in the most advanced astronomical
telelscopes and cameras allowing 97.8% clarity. Those molecular particles act like a
prism whereby the light is refracted. This may have more to do with photons and the
physics of light than art, but it makes for a spectacular effect. A touch of light goes well with
all my paintings.
6. Different depth profiles
- Gallery Profile (1.5" sides) Suitable for hanging with or without framing.
Preferably without as this enhances the contemporary look which is intended.
Optional framing upon request only. See picture in "Commission Section" of this website
- Museum Profile (2.7" sides) for larger and/or on request.
- Gallery Profile (1.5" sides) Suitable for hanging with or without framing.
Preferably without as this enhances the contemporary look which is intended.
Optional framing upon request only. See picture in "Commission Section" of this website
- Museum Profile (2.7" sides) for larger and/or on request.
7. Various Studio shots
1. In the beginning...
2. Creating my own colours
How does a painting get created?
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Studio Q & A