It's hard to pin down when exactly I finished this particular painting.
The process was far more one of exploration than intention. In creating it I wanted to work within the influences of Willem de Kooning and Jackson Pollock. With de Kooning it’s the idea of using various emulsions along with the primary binder (in this case) of linseed oil and turpentine. With Pollock it’s about the all over composition and application of action painting in every possible aspect of the process.
I cut a 90x150cm cotton duck canvas which I primed with two coating.
I left the canvas unstretched as I’d be painting both on the floor and walls.
Mixing Ottoson’s linseed oil paint with W&N Liquin I created a basic under-painting of light creams.
I then began to throw, drip and push with a palette knife various paints mixed with various mediums.
I would then fold the canvas like a Rorschach ink blot, effectively duplicating the marks.
I then stapled the painting to a wall where I mixed a glaze from various green hues.
Anytime paint would become a bit impasto I would scrape it off so that the painting remained somewhat flat.
I then mounted the painting, on basic stretcher bars.
The color palette used was quite arbitrary, more based on what I had available and could afford than real artistic choice. It was however my intent to create well saturated colors which under certain lights, is revealed though impossible to see on a monitor.
It was important to me during the process that the painting ride the line of abstraction and never land too much in pictorial imagery. Because I kept quite impulsive with the mark making, there was never a conscious choice to introduce any type of figuration. Any figurative elements are purely accidental and if I was successful, are seen as a result of the viewers experience and subconscious and not through my intention.