160. Rudbeckia Corner
Acrylic on deep edged canvas
86 x 86cm in diamond orientation (actual canvas size 61 x 61cm)
£270
This painting is the second in a series of two paintings where the first painting in the series will be completed after this one; both having been painted concurrently. I had intended to debut it at the “Edges” themed exhibition at the Eagle gallery in July 2024; but alas, life got in the way.
I enjoyed this theme, with my first painting in the series being “At the edge of Cacophony”. Here I incorporated one of my earlier paintings “Cacophony” with a gold frame and a patterned wallpaper. The result was not dissimilar to “Anthropocene” (painting 139) a flat strata like image. This painting is a growth of the idea, again an old painting (the Rudbeckia series), again a frame and again a patterned wallpaper. Now, however, I highlight the corner of the frame and in doing so subvert the hanging orientation into a diamond shape so that the painting in the painting appears hung correctly.
Weirdly, although the work is composed in photoshop, the elements could be physically laid out in the studio which meant that I could work from life and so achieve greater colour accuracy. The colours within the “white” floater frame were quite fascinating as having painted the side of the depicted “Rudbeckia” canvas flower yellow, reflected light created interesting shadow colours.
Lots of masking took place with large areas covered for extended periods as I first realised the wallpaper, then the ‘painting’ and finally the frame.
I find the subject here interesting. I question how we border art and its ultimate context. Potentially three different creatives are involved here – the artist, the framer, the owner (and by extension any interior designer, lighting designer.) The height of display also contributes to the piece’s impact and appreciation. Extending this idea further, does the painting change if it is in the National Gallery or in Dave’s caff in Bognor Regis? This piece teases these questions but only starts the debate.
This is the first time that I have orientated a canvas in this way. It will be interesting to see it hung for the first time at our four-person group show at the Eagle Gallery in November.
86 x 86cm in diamond orientation (actual canvas size 61 x 61cm)
£270
This painting is the second in a series of two paintings where the first painting in the series will be completed after this one; both having been painted concurrently. I had intended to debut it at the “Edges” themed exhibition at the Eagle gallery in July 2024; but alas, life got in the way.
I enjoyed this theme, with my first painting in the series being “At the edge of Cacophony”. Here I incorporated one of my earlier paintings “Cacophony” with a gold frame and a patterned wallpaper. The result was not dissimilar to “Anthropocene” (painting 139) a flat strata like image. This painting is a growth of the idea, again an old painting (the Rudbeckia series), again a frame and again a patterned wallpaper. Now, however, I highlight the corner of the frame and in doing so subvert the hanging orientation into a diamond shape so that the painting in the painting appears hung correctly.
Weirdly, although the work is composed in photoshop, the elements could be physically laid out in the studio which meant that I could work from life and so achieve greater colour accuracy. The colours within the “white” floater frame were quite fascinating as having painted the side of the depicted “Rudbeckia” canvas flower yellow, reflected light created interesting shadow colours.
Lots of masking took place with large areas covered for extended periods as I first realised the wallpaper, then the ‘painting’ and finally the frame.
I find the subject here interesting. I question how we border art and its ultimate context. Potentially three different creatives are involved here – the artist, the framer, the owner (and by extension any interior designer, lighting designer.) The height of display also contributes to the piece’s impact and appreciation. Extending this idea further, does the painting change if it is in the National Gallery or in Dave’s caff in Bognor Regis? This piece teases these questions but only starts the debate.
This is the first time that I have orientated a canvas in this way. It will be interesting to see it hung for the first time at our four-person group show at the Eagle Gallery in November.