The method behind the madness

The process for my new work and how it comes together.

source material1. My source material consists of recycled paintings that I did in the first lockdown alongside new acrylic abstracts that I produce when I need a specific colour range for the piece I’m working on.
design layout2. The paintings are cut into strips and laid out to form a design. On larger works the strips need joining together and so this particular design started off with angled sections top and bottom.

design layout3. The design often changes at this stage, both in the layout and the colours used. I thought the sections were too formal so switched to a central shape with less defined edges.
vertical strips4. Once the design is laid out it is transferred and stuck down onto the backing board, piece by piece ensuring the strips remain vertical (well, within a mm or two…)

background design5. The background strips are laid out ready to add to the backing board.
work in progress6. Each strip is then cut to fit either side of the central element.

background half complete7. Background half finished. I often come up with the title whilst working on the piece. On this one I like the way that the background and foreground merge on the less defined edges, hence ‘Interference’.
interference original acrylic abstract artwork8. Completed. ‘Interference‘ is the largest and most intricate design to date.


Recent posts from my Studio Journal

the seasons series

Spring—summer—autumn—winter

Or, actually winter—spring—summer—autumn. This four panel series, each one based on colours of the season, go rather well together. However, aesthetically they work better starting with winter… ⁠ 4 panels, each 8x8in, acrylic on paper on board 2021⁠.⁠

the seasons series

Just varnished

Once the sequence was sorted the pieces went together quickly. Without any joins the only fiddly bit was cutting the final strip to fit in the last gap on each.