Draw Rein, Draw Breath
2013
Acrylic on polyester
130 x 150 cm (approx.)
The pieces in which I first found my feet in non-representational painting were made in 2013/14. They used white lines on a black surface, initially black and white acrylic on unstretched polyester canvas. They explore a way of drawing in which the forms delineated by the lines do not overlap but create surface tension using curves and spirals. Circles become the only closed forms.
Run-through
2014
Acrylic on linen
46 x 55 cm
I began using the same principals in smaller canvases, but working with different layers, introducing different kinds of linear configurations and different tones of grey. Each layer was intended to be a discreet entity, fully engaging the space, but working together with the others to form a whole. Here I have introduced coloured disks as well as white.
Over the Bass
2015
Acrylic on polyester
160 x 130 cm (approx.)
This principle could then be taken much further, with multiple layers and tones intertwined. The darker toned elements are made with broader lines, with lighter and thinner lines more prominent. I saw this as analogous to musical structure, hence the title.
Untitled with Green, Blue and Orange 1
2018
Acrylic on Linen
60 x 70 cm
Here colour reveals more possibilities within the layering principle. The lowest layer appears to be the dark, almost black tones, yet the orange bands can be read as a glowing background with three darker panels on it.
Painting with Greys
2016
Acrylic on Polyester
132 x 101.5 cm. (approx.)
This is an exercise in construction which has relevance to the above work, as it breaks into panels across the surface. It has even more importance for the next piece.
Secondary Rhythms 4
2019
Acrylic on Linen
100.5 x 125.5 cm.
The main rhythm in the composition is that of the vertical bands, in some places apparently advancing and in others retreating, which form the main substance of the painting and state all the main colours. Across these runs a counter rhythm of discs using the same colours with some of larger size in neutral greys. Finally, a system of grey lines forms a different kind of rhythm again, spinning diagonally across the composition, looping round some circles and engaging others.