‘Permission to Land’
is a mid-sized square painting with a stunning orange and blue combination
100cm x 100cm (39″ x 39″)
California Dreaming
£2800
‘Permission to Land’
What this painting is all about
This is a medium sized original painting called Permission to Land. The painting is primarily composed of a vivid orange and metallic blue colour, fused with accents of white, black and gold. It was created with my infamous enamel paints and born from a process using my spin table machine. Far from being an easy thing to accomplish, creating something of worth and value from a process that uses centrifugal force is a complex and time consuming activity.
I take great care in preparing a spin session and am meticulous about what I do and how I do it. You can learn more about how I use the spin table for painting here.
As with many of my original paintings, the final piece is constructed in layers of paint. Each one (in this case, each spin), has its own unique function and place and this is controlled to produce the final painting. Style, material volumes, placement and other variables are as worked out and planned for as much as possible beforehand – even though there is always an organic element to what I do.
Multiple view points
One of the great things about all the square paintings I create is that you can turn them in four orientations (as I sign them on the back). So you can be choosy in selecting the way that works best for you and/or you can change that at a moment’s notice and completely alter the look and feel of the painting.
I have show this in a couple of the room settings on this page – the painting has very different feel to it depending on the orientation you choose for it. And, if you’re feeling adventurous, you can also hang it as a diamond – which effectively gives you 8 ways to hang it!
Details and effects
The use of the obvious colours – blue and orange – make way for some pretty spectacular paint finishes. I’ve tried to keep them apart for most of the painting as they are just so good next to each other, but where they meet you can see some very interesting tones emerge.
Add in a subtle metallic gold and you can begin to see how this adds a sheen and shimmer to some of the outermost fronds and fan shapes – it’s quite unexpected as you can only see it from certain angles – nice!
Then there are the explosion effects that radiate from the centre and put together in layers to form the structures. It’s definitely a painting you need to get up close with as this is the only way to see all the intricate details. Thankfully though, this also works from other viewing distances thanks to the impact of the technique I have used along with an excellent choice of colour.
