81. Hong Kong Urban (Urban 5)
50cm high x 70cm wide
Acrylic on deep edged canvas (54.5cm x 74,5cm framed)
2015
£250
Exhibited at the Eagle Gallery "Urban and Rural" Sat 19th - Saturday 26th September 2015
Exhibited at 'Optimis' office Bedford September 2017 to September 2018
Exhibited at the Eagle Gallery "Members' Show" October 22nd - 15th November 2018
Exhibited at "Autumn Open", The Workhouse, Dunstable, Tue 17th September - Sat 12th October 2019
Exhibited at "Members' Show", Eagle Gallery, Mon 21st October - Thu 14th Nov 2019
I needed to do some further photoshop work on this piece as I had left the composition some weeks previously with the boat facing the other way. I felt sailing into the composition worked better than sailing out. This was important but meant the shadows and typography were the wrong way round – stuff to correct while painting. I’d previously extracted the foreground boat from being snug up against the central blue boat. This gave the painting more depth. I really like the contrast between the opulent high rise living to the scurrying life around the boats.
As with the other rural pieces I became besotted with the detail and any expressionistic speed was rapidly rejected for the plodding excitement of masking tape strips and rigger-ous detail.
Quite pleased with this one, think I’ve successfully caught a fascinating part of Hong Kong.
Acrylic on deep edged canvas (54.5cm x 74,5cm framed)
2015
£250
Exhibited at the Eagle Gallery "Urban and Rural" Sat 19th - Saturday 26th September 2015
Exhibited at 'Optimis' office Bedford September 2017 to September 2018
Exhibited at the Eagle Gallery "Members' Show" October 22nd - 15th November 2018
Exhibited at "Autumn Open", The Workhouse, Dunstable, Tue 17th September - Sat 12th October 2019
Exhibited at "Members' Show", Eagle Gallery, Mon 21st October - Thu 14th Nov 2019
I needed to do some further photoshop work on this piece as I had left the composition some weeks previously with the boat facing the other way. I felt sailing into the composition worked better than sailing out. This was important but meant the shadows and typography were the wrong way round – stuff to correct while painting. I’d previously extracted the foreground boat from being snug up against the central blue boat. This gave the painting more depth. I really like the contrast between the opulent high rise living to the scurrying life around the boats.
As with the other rural pieces I became besotted with the detail and any expressionistic speed was rapidly rejected for the plodding excitement of masking tape strips and rigger-ous detail.
Quite pleased with this one, think I’ve successfully caught a fascinating part of Hong Kong.