Paintings 14&15

Hello everyone, it’s Friday again and what a relief! It’s hard to believe that this set of paintings marks the half way spot! Only fifteen more to go and it seems the time is flying by. Here are paintings 14 and 15:

#14 “Etched in Concrete”, oil on birch panel, 8″x8″
img_4344This painting is from a photograph I took of a natural patina of sorts, in concrete. I was mesmerized by the diaphanous form of a cloud, tree or mushroom that just occurred naturally. I found it beautiful and amazing.
When I set out to paint it, it was interesting. Often times I tag a painting as representational or abstract. In this case, it’s a representational painting of an abstract image~go figure.

#15 “The Look”, oil on birch panel, 4″x4″
When I saw this photo of this goat, I had a chuckle. The look on the goat reminds me so much of one of my sons when he’s in a certain mood. I like to approach portraying animals as I would a human portrait;  I think it adds a lot of character and is a lot of fun.

I am reminding myself to enjoy the little things.

Wishing you a great weekend!

“Distant Shores”

Hello everyone, Happy Friday! I am looking forward to the weekend. I don’t know about you, but it seems that every week is about just barely getting through the week, and finally breathing a sigh of relief on Friday night. There’s always something coming up, something that have to be done or dealt with and it’s exponentially worse when there are kids involved. Anyhoo, enough of my ranting..

Below is a 4″x12″ acrylic painting called “Distant Shores” (click on image to see larger view):
I’ve received several comments from people who wanted to know the actual size of my pieces. I thought my site name was self-explanatory ๐Ÿ˜†; I do like to work small. Art materials are expensive and the larger the work, the more it costs, and usually takes longer to complete. I am not opposed to working large and I may at some point, but since a lot of my works are experimental (as in, me testing out ideas/materials), I have kept my pieces small. So from now on, I will try to include the sizes of my pieces. I am still learning about putting my work out there in the wide wide world of the interweb, so reader feedback is much appreciated.

Moving on to “Distant Shores”, this piece was purely intuitive. I painted it late one night without intending to do any painting. I saw the canvas (by the way, I hoard/stock up on canvases when I see a bargain) and I just started to paint. This piece ended up looking like an alien city, but technically it was about making scratches into the surface of the paint:
img_3870As you can see above, many lines and scribbles were inscribed into the surface as well as leaving patches of gold.

I really enjoyed making the gold fine-line scribbles:
img_3869The thin gold lines that make up the scribbles resemble a storm. I imagine this type of weather in an alien world (although this happens on earth too).

In this detail you can see a vague silhouette of a city that is aglow from the evening sun:

I decided to render the sun in a playful liquid swirl:
I hope you like this piece, it was something new for me in terms of subject matter, technique and process. I am trying to expand my horizons and explore art mediums and or techniques that are new to me. Thanks for coming along with me in my journey. Have a nice weekend.


Hi everybody, below is the last piece from Seasons mini-series:
img_3861 This is “Summer”. Unlike my “Winter” painting, I didn’t have a problem doing this piece. Summer is my favorite time of the year. Summer is so beautiful where I live (Vancouver Island). It is warm to hot with no humidity. And the water is gorgeous:
img_3864 In this detail, I hope you can see the thin layers of water atop the sand. This painting is obviously abstracted~ the water and sand does not look like that where I live, but it feels like that.

The sand and sun is all shimmering gold for me:
In the detail below, I tried to capture the golden light of the sun dancing on the surface of the water:

Here is a skewed shot of from the side:
img_3862You can see by the side shot that this piece is not as thickly built-up as other pieces that I’ve done. This is because the subject matter was very straight forward; I did not have to think long about what “Summer” is for me. When this stage of the painting presented itself, I didn’t want to add A thing. Compared to other paintings in this mini-series, it is the simplest and the fastest piece. But in the end, you have to accept when a painting is done.

I am looking forward to summer and I will try to endure the winter as well as I can. Anyone else feel the same?

Straight forward experiment

Here is another painting in my “Experiments” series:
In this piece I’ve painted a very simple abstract motif in the shape if a wave with a high impasto arch:
imageI used a warm and high-chroma orange to contrast cooler colours in the background.

The wave motif central to the piece is reinforced by the water droplets:

All in all, I wanted to see how the pouring medium would affect a typical acrylic abstract painting just by coating it. Here is a view of the side painted with silver:
It seems that the pouting medium doesn’t add anything but a high gloss finish to the painting. Although the gloss has more dimension so it looks more like a clear coating rather than just a painting with high sheen level. It’s a subtle difference but one to take note of.

“Experiments” Continued…

Below is a mixed media piece in my pouring medium “Experiments” series:
This piece features wool and watercolour sticks. The hairy under layer is actually blue-black wool roving. I used it in a way that provides a gradient-look by thinning out the hairs from bottom up. I find that it complements the blue-black tint in the watercolour stick background drawing:
imageThe amber-like forms on the bottom of the canvas are translucent and you can see the hairs through them. These also emit iridescent dots of bronze and fiery copper that also fade out towards the top of the painting.

The white cloud-like forms are built up in layers to resemble porcelain. It reminds me of blue and white china:

Here’s a view from the side:
I think these micro-scapes can be something from an alien-world or ours if you look closely enough.  I hope you like it.

“Experiments” Series

As you know I’ve been working with pouring mediums lately. I’ve decided to group most of these paintings that share the same form factor (4″x4″ on canvas) into a series called “Experiments”. Because they are experimental in nature, these pieces primarily focus on exploring pouring medium with other media. Below is the latest one (again, please excuse the glare, they are difficult to photograph):
In this painting I incorporated glass beads. I love the look of the beads in this piece since the beads obviously lend themselves to bubbles in water.:

Some of the beads are iridescent to compliment the shifting hues when light reflects off the water when it moves:

Another fun thing was to put a flat glass piece over my initial, providing a see-through feature like a window:

Below is a shot showing the sides of the deep-edge canvas with drippage:

I have to say I really enjoy making these pieces because they are explorative and fun. I hope you enjoy them too.

“Harmony” or “The Birthday Party”


Above is a pouring medium piece called “Harmony”. I wanted to illustrate uniquely different elements in harmony. In this case, three primary colours rendered in simple, soft, curvy shapes.

I wanted to convey nature in primitive or fundamental form, depicted in harmony. I chose to illustrate the forms by way of the “amoeba”-like shapes. In order to stress the “building blocks of life” feel, I alluded to biological, microscopic and chemical elements in the white “chemical notation” markings:

I wanted the larger forms in the background to be soft and muted; I wanted the smaller forms coming into focus in the foreground, to be clear, bright and vibrant. The feeling I wanted was to be reminiscent of those macro videos of biological functions of cells etc.. you know the ones right?


I chose to expose the look of the bare wood on the sides to complement the soft background:


I’m happy with the way this piece turned out. Along with the biological and chemical motifs of this piece, I especially like the minimal look and whimsical feeling.

Despite my intentions for this piece though, when I showed this to my son, he said it reminded him of a birthday party. Everyone takes away something unique to them.๐Ÿ™ƒ

Hey, Hokusai

This is a piece I did using pouring medium and pastel, it’s called “Hey, Hokusai”:
Something about it reminded me of the “The Great Wave off Kanagawa” by Katsushika Hokusai. Although the only thing in common are the waves: image somehow it reminded me of the Hokusai painting when I painted it.

The thing I like most is the background; it is composed of gesso applied thickly and pan pastel applied overtop. The gesso adds a nice texture to which the pastels can embed its pigments: image
The rustic look of the background is contrasted by the glossy, modern-looking pop of the sun:

All in all, I’m pleased with the way this one turned out since it was only an experiment. I hope you like it too.

Tar Gel and Pouring Medium

I was experimenting with Golden’s Tar Gel and it’s usability with Liquitex Pouring Medium. The piece below, is called “Forest of the Fireflies”:
The clear stringy texture in the background is made with the tar gel. The gold strings are made with gold paint added to the tar gel. I really like the look and feel of the “string gel”; string gel is another name for Tar Gel because of its stringiness or technically called, rheology. You can get neat effects when you take a palette knife and let the gel fall or drip onto the substrate.

I found that the tar gel works well enough with the pouring medium. In this piece, pouring medium covers the whole piece. However, there are a few things I don’t like about the tar gel. One is the how easily it tends to get air bubbles when you mix in the pigment or paint. You have to do it very slowly, I suppose you can pre-mix it and let it sit for a day but I’m impatient. Another thing that I don’t like is that it’s really difficult to handle for instance, putting it in small squirt bottles which I like to do. It’s not much of a problem if you put it in larger jars but there tends to be a lot of waste and spillage etc..think of it as handling liquid honey. Finally, I really don’t like its tackiness, it takes a while to fully cure.

I’m glad I got to find out how the tar gel behaves with the pouring medium. I’ll file the data in my head and remember it’s qualities for future use. Meanwhile, I’m happy that this image of fireflies that was lodged in my brain, for quite a while, came out.

Slice emsemble

Hello everybody, I was saying in my last post of how I wanted to frame my branch slices in a shadow box. Below is a grouping that I assembled on black background:
I really like the way this looks. So I’m decided that I will frame these in a shadow box with a black mat background. It’s good to be able to put things together temporarily to envision what it will look like.

By the way I hope you’re having a great Labour Day weekend!