My New Framing

Concept art for the framing of the Shan Shui Series of paintings.

I couldn't find a framing style that suited my paintings at a traditional framing shop. So I decided to research and develop my ideal framing style and 3D print it.

The100% custom design below is actually a computer model that will be 3D printed and then painted and antiqued by hand. The production is being handled by a company that supplies museums in central Europe. 

Luminous and Ethereal

Glowing colour: beautiful and haunting...colour taken to the absolute maximum point of intensity and saturation.

The soft, warm glow of neon. The otherworldly atmosphere of bioluminescent algae illuminating ocean waves. Filamentary clusters of lucent galaxies that are the largest observable structures in the universe. Incandescent Christmas lights under a blanket of snow. This is where my love of light begins.

I deal with actual and perceived luminosity in my work. Through various juxtapositions and playful contrasts, colour becomes light. I explore both the inherent luminosity of the colours themselves, as well as the character and qualities of light — the latter being an investigation normally reserved for realistic painting. 

Topographical Detail

The topography of abstract art can be difficult to infer from photographs. Colours and outlines tend to dominate in these head-on, fully-lit, flattened photos. If you were looking at a painting in person, you would naturally approach it from different angles, gleaning all of the intriguing surface details through the play of light and shadow.

In abstract acrylic painting we have the opportunity to explore different dimensions of paint: surface details, textures, patina, and variations in height are a landscape for the eyes to enjoy.

#150, topographical detail

#151, topographical detail

Materials

I paint with acrylic paint because it is a novel medium, fully alive and overflowing with new possibilities. Being water-soluble, acrylics allow me to incorporate the dynamism of water into my art.

I paint on masonite: an exceptionally smooth, compressed wood substrate. I find the high-tech acrylic polymer emulsion benefits some form of grounding, and wood provides that; it brings the synthetic back down to earth. The luminous and ethereal aspects of my paintings are also balanced by the earthiness of wood.

The smoothness of the masonite enables me to create very fine details and delicate lines, giving my work a 'high-definition' quality.

Shan Shui Series

Shan Shui is the title I’ve given to my latest series of paintings.

Shan Shui means “feeling from mountains and water”. I think my work has a similar experiential quality to Shan Shui art without being remotely derivative.

Even though 1000-year-old Chinese brush and ink landscapes are unrelated in form to my colourful, luminous abstracts, I believe they are related in spirit. There is a definite Taoist mind-set to my painting methodology: I am always following a feeling-flow. Shan Shui paintings induce meditative gazing and lead the eyes on an introspective journey, as do my works. Two common comments I receive about my paintings are that they look like the ocean floor or the cosmos. Thus, perhaps I am borrowing elements from different aspects of nature and creating landscapes without the land.

https://en.wikipedia.org/wiki/Shan_shui

The Universe

Many people comment that my painting 'Creation' (right) looks like the Cosmos. I tend to agree, especially when placed next to the emerging map of the universe, which appears to be composed of thread-like galactic superclusters (left).

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