"The Unassociated Separation of Color, Realized"
122 cm wide x 183 cm high
Oil on Canvas
PROVEDANCE: On location at artists studio. Signed bottom right R. Certificate of Authenticity, Artists Studio Seal in sleeve on back.
122 cm wide x 183 cm high
Oil on Canvas
PROVEDANCE: On location at artists studio. Signed bottom right R. Certificate of Authenticity, Artists Studio Seal in sleeve on back.
122 cm wide x 183 cm high
Oil on Canvas
PROVEDANCE: On location at artists studio. Signed bottom right R. Certificate of Authenticity, Artists Studio Seal in sleeve on back.
Semi Abstract Tapestry
Where do you even begin on this one? I started buying up tons of oil paint tubes on eBay back in 2009. I paint with vintage oil paints bought from estate sales, from what most likely are dead artists. The viscosity, the pigments, the ingredients, and the color from oil paints pre-EPA in the United States is unrivaled. All the oil paints I use are 50 to 100 years old.
So, when you think about it, some oil tube was filled in a factory back in 1942 and miraculously made it to my hands to make these paintings, what are the odds? So, most of my paintings were in theory, and practice started many years ago. This painting was a result of two ideas; one was to get rid of a lot of paint, and how to use a piece of canvas that has been sown together.
Down the entire left side of this painting is an industrial seam from where they sewed these two pieces of canvases together. Back in 2010 I used to buy what was considered flawed canvas at a discounted price. I could get a really good quality canvas at a pretty cheap price. Supplies as an artist or not cheap, good quality supplies are expensive, and 13 years ago it was a lot more difficult to find what you needed at an affordable price.
Anyway, most of my paintings from that decade were done on flawed canvases, most of them were started based off of the flaw in the canvas so the paintings themselves became consequences of the factory flaws. This giant piece of canvas had a seam going down the entire left side and I was faced with the obstacle of making something out of it.
How do I incorporate this giant seam into a piece of art? This painting was made without a brush for the most part, I pushed every color out of the tube, straight from the tube. My framer knocked this one out of the park, it is one of the brightest most vibrant paintings you'll ever lay your eyes on.
This painting not only dominates a room, but it makes the entire room vibrate and commands that you come look at it up close. It's like a tapestry of paint. If you want a conversation piece, then consider there is no other rival to this painting. This painting will not only catch your attention, but you will never forget it.