Automotive Paint on Cast Acrylic
125 x 150 cm
Cast Acrylic & Automotive Paint
135 x 166cm
Private Collection, Los Angeles
120 x 80cm
170 x 100cm (each)
170 x 100cm
172 x 150cm
Cast Acrylic & Paint
80 x 140cm
Cast Acrylic & Spray Paint
100 x 220 cm
Jive – detailed view
120 x 120 cm
150 x 135 cm
This project harnesses the ability of cast acrylic to absorb and permeate light and colour. Each panel is cut into segments; the edges and rear surface are then painted and finally it is carefully reassembled as before. This process allows light to reflect off the internal painted edges to create a soft diffusion of local colour allowing different sections or lines to resonate with subtle and alternative hues. Joseph Albers called it “film colour”, where the perceivable colour is merely a reflected colour, which is often out of direct sight.
57 x 77 cm each
With a linear arrangement based simply on three pieces of paper that protrude and overlap these two small works emphasis acrylics ability to resonate colour. Here the perceivable colour is merely reflected from perpendicular edges that are out of direct sight. Whereas the outer edges support cold colours the central section glows with contrastingly warm colours of red, yellow and orange.
Cast Acrylic, Oil & Spray Paint
This work explores the interaction of blue and white. Each of the eight sections on the right is edged with different shades of blue that produce eight sections each with subtly differing tones of white. The left side has a very fine layer of white oil paint over a mid range blue again creating a colour blended by light. The central axis and the wall reflection are a vivid yellow.
108 x 92 cm
Equivalent is literally an abstract painting that really could work either way up. Based on sheets of hanging paper, the white sections imitate those corners that either hang down below or stick out above adjacent sheets. This results in two perceptions of gravity that lends this abstract a subtle tension.
120 x 80 cm
Ostensibly a formal hard-edged painting Fade to Blue is actually about how a painting of this type can be more of a soft-edge painting. The key to this is the combination of hand drawn lines and the diffusion of local colour along each internal line, creating a logical feeling of balance and a sense of symbiosis that unites the whole painting.
82 x 130 cm
Intercircular is a detail of where three different but perfect circles interlock. Painted individually each curve is merely a part of a much larger construction that lies beyond the edges of the painting.
Intercircular is a detail of where three different but perfect circles interlock. Painted individually each curve is merely a part of a much larger construction that lies beyond the edges of the painting. Created using a jigsaw and a large compass attachment the curves produce a work of captivating poise and balance.
101 x 130 cm
This piece differs from many in the Arclight project in that rather than concentrating on creating sections of different tone, here the emphasis is on the line itself. Simply painting both sides of a line with the same colour gives each a life of its own, beyond merely acting as a border between other parts of the painting.
53 x 40 cm (each)
The starting point, which is common for a few works in the Arclight project, was the idea of layered sheets of paper but I wanted to make a series of works that were more anthropomorphic than abstract. The principal influence turned out to be Giacometti’s wonderful Pointing Man. Its legs and arm arrangement inspired me to organize the work with two lines in the lower half that suggest legs and particular lines in the upper half to imitate pointing arms.
Here the colour of each section is simply altered by the strength and proximity of the colour. The arrangement is based on pieces of hanging paper.
64 x 73 cm
The series was named after a little know band that bridged the gap between structural ragtime and free jazz in the early 1920’s.