This is the second painting I submitted for the Summer show at the RA, the first being the portrait of of my uncle Peter.
A completely different kind of painting altogether, I wanted to explore pure colour, to find the clearest, strongest ways to show its true nature and behaviour in watercolour medium. Only three colours are used, cyan, magenta and yellow, employing juxtaposition, overlay and tone as well as wet and dry paper and re-wetting techniques. Each colour is laid on individually, not mixed.
As a jeweller my work is very much about control, my designs are geometric and ordered, serendipity is a rare and welcome component, usually appearing whilst pushing the limits of the material. This process follows through in the “Dots” series of paintings. I begin from a precise positioned grid of marks, working on wet and/or dry paper, overlaying in several passes following a strict order whilst allowing accidental or material based irregularities to occur. Colours are applied with droppers or with broad washes laid over dried dots, allowing the colours to soften and run at will.
This following painting uses another technique, I laid down intense drops of colour on dry paper and allowed them to dry out completely before brushing over them with clear water and a large brush, spreading the colour and making the colours run.
I keep looking back at this photo from October in Canada, I think/hope that there is a message there somewhere, written in the leaf-stains and screw-heads. It is simply the deck of a motorboat become stained with autumn leaves, caught in the late afternoon light, just a small spot of pink reflected in the hinge-plate.