A minimal white and gold original painting inspired by the classic Eric Johnson tune of the same name
I promise you that there is definitely paint on it!
The whole point of this minimal and clean original artwork is to enjoy what’s there as much as what isn’t.
Read on dear friend, all will become clear.
Where’s all the paint then?
A good question. Let me begin by reassuring you that there is paint on all parts of it. Look, for some reason I’ve had a nightmare photographing this new minimal artwork. It must be because so much of it is made up of very delicate white and cream coloured paints; as soon as you try to capture bright white in bright day light you get… well, brightness!
It’s virtually impossible (with my skills anyway) to capture the subtlety and nuances of the white and cream background layers. But let me assure you they are there and they are beautiful. And bear in mind that this painting is all about the ‘less-is-more’ principle; a place where minimalism has a chance to breathe and where just enough really is just enough.
Shout without shouting
There’s a definite air of calmness and maturity to this painting. It’s always nice to make a point but sometimes that can be done in a way that doesn’t involve the whole song and dance routine that goes with it. Cliffs of Dover is imposing because of it’s size but it’s also very intimate thanks to its composition.
I’ve been extremely careful with how and where I place the gold and copper paints as I want to take your eye on a journey around the canvas rather than leave you concentrated on any one place. For me it’s a way to engage you and to allow you to see some of the bits that are less noticeable at first glance.
Minimal ideas shouldn’t be over in a heartbeat, I believe they should engage and enrich as you spend time with them. Fingers crossed on that one then?
Many of the gold and copper swirls get supported by smaller and lighter whisps that circulate around them and, because of their directional changes, they lead your eyes off around the rest of the painting without too much effort. But it really is one of those pieces that needs to be looked at closely to really appreciate the tiny details. A new paint splitting technique with latex and thinners has done some pretty cool things with the gold. In places I have also tried this with the white and cream too. Neat!
Will it fit into my life?
Yes! But if you love colour then no. Let’s be honest with ourselves here; this is a painting that will suit a clean, minimal environment. Somewhere where silver and gold are present and a space where the love of clean lines, function and the odd beautiful thing is the priority. The painting is playful for sure , among all the other qualities it has, but it’s all nicely contained within that hand-made silver and black tulip wood exterior frame. It’s a crucial part of the success of the painting actually as it clearly defines the boundaries for it.
In many ways you could be forgiven for thinking that you’d never notice it if it were hanging in a clean, minimal white space – but you’d be wrong. I can vouch for that as that’s exactly what I’ve done in my gallery – put it on a white wall. And I’ve also got it surrounded by twenty five very colourful paintings too, and it still stands out. I kid you not. It’s exactly because it’s so different that is causes you to notice it more.
So there’s the proof I need that less really is more sometimes. You don’t always have to wave your finger to make a point.
