Musical Veils
These paintings begin with a highly-resonant colour, with which I gradually saturate the canvas. Whilst painting, the music I listen to in the studio becomes embodied in the paintings. The sound enriches my visual choices in setting a colour response notation. The sequences of colour applied, then oscillate with the base colour and I proceed to investigate the transitions of luminosity using translucent hues, each with a different pitch. For example, I may start with with an ultramarine and then apply a cadmium orange, a magenta, or other highly intense colours, in order to generate a tonal range with very subtle gradations. As the colour superimposition builds, the painting becomes increasingly concerned with the absorption and reflection of light. The surfaces of the paintings respond to the quality of light and emit their own historical colour frequency.
These paintings begin with a highly-resonant colour, with which I gradually saturate the canvas. Whilst painting, the music I listen to in the studio becomes embodied in the paintings. The sound enriches my visual choices in setting a colour response notation. The sequences of colour applied, then oscillate with the base colour and I proceed to investigate the transitions of luminosity using translucent hues, each with a different pitch. For example, I may start with with an ultramarine and then apply a cadmium orange, a magenta, or other highly intense colours, in order to generate a tonal range with very subtle gradations. As the colour superimposition builds, the painting becomes increasingly concerned with the absorption and reflection of light. The surfaces of the paintings respond to the quality of light and emit their own historical colour frequency.