Moving back and forth
The reason why I think this piece of blue modern art works so well is the inclusion of motion and movement I was so anxious to get across. Oceanic systems are always in a constant state of change so it was important to reflect this in the final piece. I hope you can feel the ebb and flow of ocean currents as you look across it.
I also think it’s very atmospheric too. Perhaps you get the feeling of blue skies and flowers? Maybe even a jungle full of parrots (as a member of my focus group told me). It really shouldn’t ever be limited to any one subject matter.
Just because I was influenced by something specific doesn’t mean you have to have the same reactions though. That’s the great thing about the properly thought out abstracts – they keep on giving long after their story is told.
A few notes on the techniques used
The base layer (or background if you prefer) is a work of art in itself. In fact it is the work of several independently applied layers fused together over a number of weeks.
I use a series of techniques that allow me to keep my paints liquid for some considerable time – this means I can revisit parts and rework them whenever I want to.
This is necessary as I cannot bend over or kneel on the floor for more than an hour at a time – so I have to be able to return back to the same place (on another session) without worrying about the paints going hard.
It’s a very clever process and is fundamental to getting these very detailed and involved backgrounds. With this technique I can make anything look seamless.
Then there’s all those fantastic loops and swoops over the top. All carefully applied with different thinning agents so that I can control how far they go and how far they spread.