Tuesday 23 January 2018

NEW WORK IN PROGRESS

PROGRESSIONS

Untitled, acrylic on canvas, 60cm x 60cm.

Below: Extreme Close-Up,taken today [ 23rd Jan 2018 ].



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Below: Close Up, angle shot Dec 29 2017


Below: Jan 3rd 2018


Below: Jan 4th 2018


Below: Jan 23rd 2018




Tuesday 9 January 2018

2017 ANNUAL REPORT / 4th QUARTER / FINAL REVIEW

October 2017: Visited New York for a working holiday. Meetings and inspirations!

New York City, as seen from Jersey City:


At Stonehill Taylor Architects ( Oct 24th ):


At Gensler NYC ( Oct 26th ):



The incandescent fall colours of the Adirondack Mountains, upstate New York:



Empire State Building, shrouded in low cloud ( a certain Gershwin song springs to mind ):


People watching:



Thursday 4 January 2018

2017 ANNUAL REPORT / 3rd QUARTER REVIEW

[ For best viewing on your phones, click 'VIEW WEB VERSION' at the bottom of this page. ]

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JULY 2017: ELASTICITY, BOOK COVER ART [ based on a my 'Brazil Mood Flag' painting ] and the signing at the launch in London.





Full article here.

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AUG 2017: Beginning new series of PEN DRAWINGS in consultation with Kim Edwards, art director at Stonehouse Taylor, New York, for future 'designer hotel' project.

Wednesday 3 January 2018

2017 ANNUAL REPORT / 2nd QUARTER REVIEW

APRIL 2017: SPLITTING INFINITIES [ THE ABSTRACTION OF MODERN TRAVEL ]
- Continuing my Abstract Life series of articles and pictorials -


Click here for the full article.

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MAY - JUNE 2017

CARBON BLACK: Acrylic on Canvas, 50cm x 50cm



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U.S. AIN'T: Further experiments with Digital / Vector Art


Tuesday 2 January 2018

2017 ANNUAL REPORT / 1st QUARTER REVIEW


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JANUARY 2017: ANALOG-TO-DIGITAL REMIXES OF ABSTRACT PAINTINGS


Above: Stealth, as a Digital Vector Image ( with texture )

One of the obvious down-sides of creating a painted composition, is that once it's sold, the design is no longer in your hands. In the case of my work, it takes months to finely balance a piece ( it's a form of automatic composition, in that apart from a starting grid, everything is ad-libbed until the picture 'feels' finished ). On that journey, many interesting forms and motifs may evolve. In late 2016 / early 2017, I decided to painstakingly go about re-creating some of my recent paintings in digital 'vector' form. This allows me to do two things: 1 ) Significantly enlarge the composition without loss of quality or pixellation; 2 ) Deconstruct my artwork so that it can be remixed, recoloured and recomposed.

Below: The original Stealth and Encryption, Acrylic on Canvas, 40cm x 60cm


Below: Stealth, as Digital Vector Image ( with texture )


( For more examples of vector experiments, see the link to January 2017, here )

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FEBRUARY 2017: BLISS IN CONCRETE, Acrylic On Canvas, 60cm x 60cm



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MARCH 2017: Up-and-coming American folk singer SYDNEY ROBINSON uses 'WOMAN DISROBING' for her debut digital single artwork.




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