Comments (1) This painting is experimental in both technique and subject matter. I have used both acrylic in the early stages building up layers and dribbling paint from a stick at different angles. I then used glazes of oil paint to build up depth, colour and tonal changes. As for the subject – well judge for your self.
The private view for the Cambridge Arts Movement self-portrait exhibition at Williams Gallery was great fun and very well received. The range of work from all the different artists is very exciting and many of the visitors were interested in how each artist approached the subject.
And I was very pleased with the very positive feedback I got from fellow artists and visitors. It has given a real drive to do more experimental work.
Most of my recent paintings are in oil but a lot my earlier experimental work is in acrylics and mixed media. And for some of my new abstract paintings I have dug out my acrylics again as one of the benefits is it dries so quickly. This allows me to experiment with different effects and to continue working on the paintings for extended periods rather than wait for it to dry.
Still, I love working on oils and will work over the top with glazes and stumbling.
However, the question arises of is it okay the paint over acrylics with oils? Many artist do this and belive it is okay and believe that the acrylic paint is a sufficent ground to hold the oil paint. Conversely, other artists say it is not the ideal surface for oil paint. Perhaps only time will tell – probably long after we have gone! One thing I do know is I have paintings that finished fifteen years ago, that I painted oil over acrylics, and they are perfectly fine!
Another reason I have returned to acrylics, is after several conversations I had with artists whilst on holiday in Dorset. The artist I spoke to work almost exclusively with acrylics (well, actually emulsion and acrylic), mainly because they have a large turnover of work through their galleries and cater for the tourist market. Many said they did use oils for longer and more experimental work: By experimental I mean work that is not so targeted at the tourists and work that perhaps takes longer to sell.
What interested me most was the fact that they used emulsion paint with the acrylics. One artist advised me to buy the strongest red, yellow and blue I could find (or have mixed) but make sure it was a very well known brand. In their experience it worked absolutely fine. Again, I have found mixed views of using emulsion but I intend to give it a try. As long as you are honest about its use I don’t see a problem. Anyhow, it has been used by many modern artists recently in work that is highly valued. John Myatt, the famous art forger, still uses it and did so in many of his works that fooled the ‘art world’!
Two of my abstract paintings are now hanging at Cambridge based Williams Art Gallery.
I have had some very positive feedback about both paintings, Inside Out and Street Walk, from fellow artists and visitors. It always good to get feedback (good or bad) especially with abstract art as it is fascinating to find out if the viewer sees what you intended or something completely new. A lot of work time and much thinking went into creating both paintings.
Street Walk - oil on canvas
Just completed another painting titled ‘Street Walk’ and added it to www.ashwinstudio.co.uk. It is a abstract oil painting in and another in my recycled art series and I have left brief glimpses of the original painting (a landscape) untouched.
I’m exhibiting alongside Gail de Cordova, Tess Recordon and Nick Welsh in the 4@5 Abstracts exhibition. I am showing 2 paintings, 2 sculptures and one mixed media.
Constructed from surgical instruments
The work by Nick Welsh is very graphical and based on his recent journey to San Francisco and well worth a look. And the paintings by Gail and Tess are also very beautiful and impressive.
We just had the private view a lot of people turned out and best of all really liked the work.
Gallery details:
Inside Out, is the title for my new painting. I painted it in two sittings, squeezing much of the colour directly onto the canvas and then mixing and drawing with palette knives. I tried to keep the colour as pure as possible and did not over blend. My main concern was the push-pull of colours, shapes and marks.
Abstract oil painting
Panorama theme by Themocracy
