A Great Day For Freedom
Yes it is. Like very other day in fact. It’s one thing, as an artist who paints for himself, that I have in abundance. Freedom. The ability to move in a million different directions whenever I see fit.
Of course, this also comes with inherent problems too. How on earth do you decide what you should and shouldn’t paint? Who is ever going to like it? Why bother at all? It’s a never-ending roller-coaster of peaks and troughs and one that’s impossible to get off.
The background looks a bit Rothko?
Ah yes, the elephant in the room – Mark Rothko – and artist with a value and reverence that’s up there with all the greatest names in 20th Century art. His use of coloured blocks is now the stuff of legend.
There’s no way I would ever compare anything I do to Rothko because his work has absolutely no influence on this painting or indeed any other I have done. It’s just that whenever blocks of colour get discussed his name never seems to be far away.
OK, so it’s a bunch of colored blocks and a big splash, so what?
Yes, well spotted, it is. And I’m not going to suggest otherwise. However, to stop the story there would be to miss the point completely.
What the splash represents is a painstaking trial of paint and technique to get something translated from mind to canvas. The thing that makes this painting is what’s going on in the centre.
It’s an amalgamation of achieving the right mix of colour in the right consistency, the right method of applying and then controlling this huge canvas on my new robotic spin table to a precise speed to get the paint applications moving with an exact amount of centrifugal force.
Still with me? That’s right – a spin machine. Built with the help of a robotics engineer and a shit load of clever electronics. The story isn’t over when the paint is where I want it to be though; it has to be prevented from falling into the centre again so this involves around five hours of turning, every twenty minutes, from face-up to face-down.