For this article featuring a multitude of paper works, the text shown in italics is replicated from my Instagram social media. I’ve included these words since my earlier Instagram posts give much insight into each work.
“Brushworks #1 – Original” began (unintentionally) as paint markings whilst producing “DELINEATI0N #000000” (artwork shown at the end of this article). Afterwards I started to have fun with brush motions on this paper to (now) intentionally produce random arty brush workings.
Palette knife and brushes each bring different qualities to paintings.
Following the brushwork I used a solid palette knife to press the second sheet of paper underneath this 250gsm piece for structure. This produced pressed leaf, some flattening effects of the paint and virtually imperceptible yet purposed knife edge indentations into the paper.
The brushwork is interesting hence the reason for naming the piece as “Brushworks #1”. There is no palette knife working upon the painting itself.
A beautiful SolarScape from “Brushworks #1 – Original” is shown here:
Please do click on the image for “Brushworks #1 – SolarScape”.
Beautiful, expressive brushwork imagery.
Having worked upon “Alienalis Mantis” I immediately utilised spare paint to make “Brushworks #4”.
There is no object or idea represented merely fun with the paintbrush.
I LOVE the paint colour gold. Oh my goodness, dear gold, how can I not paint your brilliance?
From approximately March 2024 to-date I have found myself in a ‘Gold Phase’.
Like some/most artists I focus on specific working themes or styles through spans of time. The fourth quarter of 2023, for instance, strongly represented 100% digitally produced painting works.
Through 2019 to July 2023 I produced multiple pencil drawings and sketches along with much intellectual poetry workings too.
You can read the literature works here Sayings.
Purchasing ultramarine, gold, sap green and sand (cream colour) on the day I made “Brushworks Ultramarine Gold #1” to carefully contrast lights and darks in terms of canvas visualisation.
I feel this is classically abstract.
“Brushworks Ultramarine Green #1” is made intuitively and quickly within approximately fifteen minutes. Sometimes I create works incredibly fast with the high artistry I need to produce.
I painted this with two brushes (wide, flat) with the orange paint orientated to the top right. I perceived a ‘Caesar’ image, canvas reversed 180 degrees, 100% chance.
Here is the image upside-down for you to see the ‘Caesar’, on the left-half of the upside-down photograph in red with a gold crown:
An arty ‘Caesar’ portrait, random chance, yet very much subconscious thought.
The A4 paper for “Brush & Palette Works #1” was utilised with another [fragmentary] piece from the underside of an as yet unfinished mixed materials work (“Conker Lots“).
Earlier overpainted (random underpaint) areas were complimentary-palette-scraged with copper and green. I then added cadmium-red, sand (delightedly) and violet with a brush.
The primary red area to the right is cloth work.
Seeing an abstract opportunity, I made a Rothko style flurry to the lower-left in appreciation.
I make these pieces spontaneously and quickly although I did two definitive drafts to perfect the visual.
The roughly ¾ A4 paper for “Brush & Palette Works #2” was utilised from the underside of an as yet unfinished mixed materials work (“Conker Lots”).
Underpainted areas were palette-scraged with copper and cadmium-red. I also added violet and sand colour paint with a brush.
I made this piece spontaneously and quickly, evaluating prior to a second draft in a finite area to perfect the visual. The second draft on the 7th.
The background helps to view the piece uniformly due to partial fragmentation of the paper.
I would like “Brush & Palette Works #1″ & “Brush & Palette Works #2” to be sold together. I perceive a three-dimensional element to the display installation.
The partial paper piece was purposely torn from the underside of “Conker Lots” sometime earlier. I needed to mount “Conker Lots” to an A3 wood panel for structural integrity.
This is the otherside of “Brush & Palette Works #2” (taken from some A4 papers stuck to the underside whilst making “Conker Lots”):
I made “Black White Robot” whilst wiping paint from a brush in vertical and horizontal motions. Produced entirely with the torn part at the top. Afterwards I discovered a ‘robot’ or ‘android’ looking face.
Interested in this unique composition I decided to make a second version the next day:
“White Black Robot” differed only in the ground, whereby I painted titanium white to add a level of contrast to this formal piece. Formal in that I planned to make the robot composition, emulating lines from the original brushwork paint play the day prior.
As promised here is “DELINEATI0N #000000” (shown immediately below) from which I utilised to make “Brushworks #1 – Original”.
The colours corresponding precisely between the two works:
“DELINEATI0N #000000” started as a study to develop ideas for a pop or poster art piece. I realised the work becoming exceptionally unique as words arrived to mind in stylistic calligraphy.
As I document this artwork I understand some subconscious specific concepts found their way into “DELINEATI0N #000000”.
National geographic borders, music, opportunity for all and plenty of complex thoughts I am happy for people to enjoy deciphering according to their own interpretation.
“DELINEATI0N #000000” is inspired from Elijah solo, you can listen to their beautiful music by clicking the link.
Hope you enjoy.
