Untitled #5
My very first ink mountainscape, featured as a finalist in the Northern Beaches Art Prize in 2019. The inspiration was drawn from ancient Chinese ink handscrolls known as 水墨 (Shui-Muo), however adapted with an inverse technique of scratching the paint on a dry surface with a dry rough brush to create my desired texture.
The shade of calico (off white) combined with the acrylic base layer (bright white) creates a subtle contrast as it seeps through the calico in patches, producing a misty aura that alludes to clouds and fog.
Close-up, the viewer is able to visually see the textures of the paint and the rough brushstrokes that create the mountain forms, however as the viewer steps back, the linework blends together to allow a full perspective of the painting as a whole.
My approach to this style relies on using one singular type of paint, harnessing the opacity of the pigment, along with negative space to create a sense of dimension, light and shadow, and depth.
Size - 40in x 60in (100cm x 150cm)
Materials - Oil on calico, stapled onto canvas.
Purchase - Prices Negotiable. Please inquire via our contact page before purchase!
(Please view on desktop for accurate dimentions)
My very first ink mountainscape, featured as a finalist in the Northern Beaches Art Prize in 2019. The inspiration was drawn from ancient Chinese ink handscrolls known as 水墨 (Shui-Muo), however adapted with an inverse technique of scratching the paint on a dry surface with a dry rough brush to create my desired texture.
The shade of calico (off white) combined with the acrylic base layer (bright white) creates a subtle contrast as it seeps through the calico in patches, producing a misty aura that alludes to clouds and fog.
Close-up, the viewer is able to visually see the textures of the paint and the rough brushstrokes that create the mountain forms, however as the viewer steps back, the linework blends together to allow a full perspective of the painting as a whole.
My approach to this style relies on using one singular type of paint, harnessing the opacity of the pigment, along with negative space to create a sense of dimension, light and shadow, and depth.
Size - 40in x 60in (100cm x 150cm)
Materials - Oil on calico, stapled onto canvas.
Purchase - Prices Negotiable. Please inquire via our contact page before purchase!
(Please view on desktop for accurate dimentions)
My very first ink mountainscape, featured as a finalist in the Northern Beaches Art Prize in 2019. The inspiration was drawn from ancient Chinese ink handscrolls known as 水墨 (Shui-Muo), however adapted with an inverse technique of scratching the paint on a dry surface with a dry rough brush to create my desired texture.
The shade of calico (off white) combined with the acrylic base layer (bright white) creates a subtle contrast as it seeps through the calico in patches, producing a misty aura that alludes to clouds and fog.
Close-up, the viewer is able to visually see the textures of the paint and the rough brushstrokes that create the mountain forms, however as the viewer steps back, the linework blends together to allow a full perspective of the painting as a whole.
My approach to this style relies on using one singular type of paint, harnessing the opacity of the pigment, along with negative space to create a sense of dimension, light and shadow, and depth.
Size - 40in x 60in (100cm x 150cm)
Materials - Oil on calico, stapled onto canvas.
Purchase - Prices Negotiable. Please inquire via our contact page before purchase!
(Please view on desktop for accurate dimentions)