FULL MOON STUDY 1.

‘Some reflections upon the original painting process’.

Limited edition print available direct from my studio.

56 x 46 cm.

I started the original painting by covering the paper in white dots of paint similar to pointillist technique.

This was a repetitious act, a meditation in paint.

I wanted to give the black card a ground of white dots, a painterly ‘star-like’ space. I worked the muted colours into the ground using a Mizubake: Japanese water brush (140 mm).

I used a wide brush to maintain the loose application of paint and to keep my gestures fluid, concentrating upon the flow of paint across the whole surface, rather than working upon discreet sections sequentially.

This was not creative work made to be solely a commercial venture.

This was practice for itself and of itself.

This standpoint liberated creative options and permitted spontaneity within the work.

I used a ‘portrait’ aspect ratio to foreground darkness, tonality and fluidity of paint.

I felt that the habituated imperative to have an accomplished ‘definite’ finished work was absent.

This sense of ritual as an ‘empty routine,’ devoid of ‘conclusions’.