Hi everybody, here’s another piece from the “Experiments” series:
In this piece I used an old watercolour snippet of a face I had lying around. I adhered it to canvas and used pouring medium over it:
After the pouring medium encased the watercolour, I used micaceous iron oxide to “shade” around the watercolour to “frame” it like a vignette along with some magenta. The magenta is then used to obscure the eyes, accentuate lips and define the outline of the head. More layers of pouring medium is applied on top with various shades of teal that remind me of bronze patina. Finally, striations of gold and silver are added to breakup the image:
The black bits are fragments of micaceous iron oxide.
The piece is interesting to me because of the colour combinations and patterns. Also, the juxtaposition of the traditional-figurative against abstract motifs. The traditional elemet is a watercolour of a woman’s head, the fluid application of the magenta versus the abstract elements of rectilinear metallic lines, and even the gloss of the medium itself.
Here’s a side shot:
I’m learning quite a bit about what this pouring medium can do. And I’m finding that it is really versatile.
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.
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.🙃
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.
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!
Hello everyone, as you know I’ve been playing around with pouring medium. I recently made a piece that has inclusions of metallic embroidery thread below:
I don’t know if it’s really noticeable at first glance. But as you know, one of the things I like most about working with pouring medium is the ease of incorporating layers. Layers make the piece more interesting and rich by revealing visual motifs piecemeal. The more you look, the more you find. I guess that’s true for most things but with pouring medium, it’s a three-dimensional effect through transparent and or translucent medium.
Below are more close-ups:
Above you can see the embroidery thread embedded in the medium of the painting.
I’d like to mention that sometimes the pieces are hard to photograph because of the glare from the shiny surface. And that the pieces are usually better in real-life.
Here’s another 4″x4″ painting done with Liquitex pouring medium:
I have to say I’m really enjoying working with this medium. The possibilities I’m sure are endless. The way the acrylic paints react whether it’s heavy body, fluid, high-flow or ink are interesting. Even different paint colours react slightly differently. There’s also a difference between paint being mixed in with the medium first then poured and the paints being dropped onto the canvas on top of the medium.
My favorite thing is to drop medium into already applied paints on the canvas that result in the “window” look; it creates a clear area in the coloured paint itself.
Below is a closer look of the same piece: