Archive – Composites

15025 Peach Springs

Peach Springs

2016

Oil on canvas 31.5 x 71.0 inches. This composite uses 6 vertically arranged panels (secured on a bespoke retaining frame) and re-visits source material from an abandoned gas station in Peach Springs, Arizona but utilising compositional devices developed out of the Manhattan series. In doing so it helps to draw together a range of disparate ideas and synthesise these on an abstract basis

14015 Cremorne

Cremorne

2014

Oil on canvas 40.0 x 80.0 inches. This diptych was created for participation in a Timelapse Project exhibition on Lots Road, Chelsea in 2014. It is heavily influenced by the approach to painting in that particular year. The source material is drawn from a sloping slab of rusty iron used to ‘dress’ the wall of a boat shed adjoining Cremorne Gardens at the end of Lots Road, formerly a Victorian pleasure park

Just Now

Just Now (4-part composite)

2012

Oil on canvas – 24.0 x 20.0 inches. Just Now underwent a long series of compositional changes, each new layer being applied with a thick paste of paint to create a rich surface texture. The piece is made of 4 separate panels meaning there are 2 ‘real’ panel gaps: one vertical down the middle and two horizontal gaps forming a ‘step’. These gaps have been used as elements within the ‘drawn’ design and affected the way the paint has been applied to expose early layers

Zero Hour Comp

Zero Hour (6-part composite)

2012

Oil on canvas – 38.0 x 20.0 inches.  Based on a composition borrowed from a painting of the same title from the previous year, this version of Zero Hour is composed of 6 parts. The long, thin format was the first to explore the particular process of painting adopted over the previous 3 years and reflects an interest in the way Leger organised his Mural paintings. The ‘real’ and ‘implied’ panel gaps work in a more dynamic way than in other composite pieces and the former are emphasised by the rich run-off of paint as a consequence of its rendering. The painting is owned by a client in Canberra, Australia

Out of Time

Out of Time (4-part composite)

2012

Oil on canvas – 31.5 x 31.5 inches. This version of Out of Time is set out over 4 equally sized panels arranged in a square. This presents a vertical and horizontal ‘real’ gap to exploit when creating the work. Real panel gaps have the advantage of allowing paint to ‘run off’ with the action of the knife before they are fixed together later on in the development of the work. This exposes the ‘archaeology’ of the painting and can be seen particularly well along the horizontal axis. The painting was acquired by a client in Paris

Red Panel Sinking

Red Panel Sinking (9-part composite)

2011

Oil on canvas – 37.0 x 37.0 inches.  One of three 9-part composites, Red Panel Sinking adopted a composition explored in a similar piece (of fewer constituent panels) but at a much larger scale. The idea was to contrast the dark shadows made by the ‘real’ panel gaps with the light grey ‘implied’ panel gaps created by leaving physical space between layers of thick paint. The ageing red ‘fire’ panel appears to be sinking, hence the chosen title for the piece. The painting is now owned by a client in New York City

Time Bomb

Time Bomb (5-part composite)

2011

Oil on canvas – 24.0 x 48.0 inches.  The configuration of the 5 panels in Time Bomb enabled me to place a long feature panel along the bottom edge and contain this with an ‘arch’, or ‘cover’. Each vertical line is an alternating pattern of ‘implied’ and ‘real’ panel gaps. These are echoed by the paint run-off down both side edges of the picture plane. The warm energy of the feature panel reminded me of the latent energy in an explosive device which the blue cover attempts to contain. The piece now lives with a friend in Brooklyn,

Red Panel Left

Red Panel Offset to the Left (4-part composite)

2010

Oil on canvas – 16.0 x 16.0 inches.  Originally created as a mock-up for a larger composite piece, Red Panel Offset to the Left became a rich and interesting painting in its own right due to the numerous layers of thick, pasty paint used in the rendering. The eventual colour combination ‘clicked’ in terms of ‘heat’ and energy, augmented by the tightness of the compositional arrangement, and the movement created by the ripples of older panels showing through the final layer of colour. This was also the first piece to present the possibilities when working paint to a physical edge before fixing those edges together