In my body of abstract paintings, lush gradients and geometric forms exist in multiple layers and depths and suggest infinite space extending beyond the picture plane. I use stark value contrasts to create an artificial light source that radiates from behind certain shapes, and at the very edges of others.
I start with a point of origin toward the center of the panel and draw a line crossing the surface. Building on that line I close off sections as I go to create shapes.
Gradients are built once depth is decided upon. Often the ‘light’ radiates from the center of the composition, but in some instances it generates in different areas, causing multiple glowing focal points throughout. Dynamic value shifts carry the eye across the painting, giving it places to dip and draw in again creating perceptual fluctuations for the viewer.
The finished painted gradients reject the brush and the hand. Their smooth color is barely distinguishable from digital production. Multiple layers cover each section- every layer being obsessively blended by multiple brushes.
I intend for my abstract paintings to possess the emotional weight of my representational pieces while consisting only of color and line. The intensity of the artificial glow and bright synthetic color paired with hard edges allows me to elicit a similar reaction. I feel as though these add to my larger body of work a place to break from tightly rendered detail while punctuating a color palette echoed throughout.