My latest work is an acrylic relief painting that is heavy in texture. There is so much texture that my work is part sculpture, as the object emerges from the canvas surface.
The concept follows the theme of my last few pieces; which is to show singular symbols against a black background. As the golden image floats through the darkness, it is representative of an echo from unknown depths coming outward. I say “echo” because it is difficult to determine what becomes of a feeling or thought once it is released into the universe. Perhaps on some level (collective consciousness, spiritual, or what have you), we communicate with symbols that carry deep personal meanings.
Upon looking closer, one can detect the relief caused by the use of texture. Using my palate knife, I sculpted the division of the planet’s rings from the body of the sphere. It was also difficult to make a decision as to whether or not it was proper to paint black lines to further divide the rings from the planet.
If I could change anything about this piece, it would be the unevenness caused by the division of the planet’s ring against the sphere body of the planet. I find it distracting.
When naming this piece, I wanted to avoid the obvious choice by calling it “Saturn”. To accomplish this, I researched other planets in our solar system with rings and learned that the planet Uranus has rings! The brightest of the 13 rings of Uranus is named Epsilon, and so voila!; the name of this golden planetoid painting was chosen.
This last shot is altered; brightness levels have been reduced, while contrast has been increased. This allows the blackness of the background to really offset the gold multi faceted sphere surface and it’s rings.
This design is also available on many items printed on demand at www.spacearttshirts.com. Thank you for stopping by.
My latest work is a gold trident with a textured surface. The piece is 11 x 14 inches and is entitled: Neptune’s Trident.
I started off with a free hand sketch of a 3 pronged shape. Using a ruler to outline the sections, my aim was to ensure a shape that was as “un-lopsided” as possible. Without a symbol to trace, or a rough draft on graph paper it was tricky to conceptualize this shape.
Once the shape was sketched on the canvas, I furthered my experimentation with texture by shaping a thin outline along the edges of the trident. I used a technique similar to the one used for decorating cookies with royal icing. Stiff and dry texturizing compound along the border wall, to contain a more watery texturized mix that was flooded into the body of the shape. You can see that this approach has its drawbacks since the relief of the borders seems to be much higher than the inner body. The higher relief along the border contributes to an unevenness generally.
One of the the things I learned from creating this piece was the need for neatness and order! As you can see, each tip of the trident should be much more “pointed”, yet they are uniquely different. This is because of my sketch that was lacking a cleanly drawn plan for where to apply texture on the canvas.
The result leans farther towards the abstract than I would have hoped for. This current study of work is based on dream-like apparitions of images, and symbols coming out of the darkness like an echo. I think that “Neptune’s Trident” is a perfect example of what I am trying to achieve. I am excited to begin working on my next project in this series.
My latest 10 x 10 inch// 25 x 25 cm acrylic on canvas continues my study of singular-focused images against black negative space. This piece features a heavily textured triangle shape that is entirely golden.
I took photos of in the light, and so the shine of the black acrylic paint allows the viewer to also see raised texture floating in the blackness. Here (below) is a shot with the brightness turned down, and the contrast brought up to maximum. The painting has a much sexier look with the adjustments- and I think I will (one day) invest in the services of a professional photographer to capture my work.
What a haunting image
The intent behind this piece was to depict the fading light of a distant dying star. The glow is homogeneous and the texture is as even as I could apply it. It reminds me of a ghostly apparition. Something emerging from the darkness that has an unknown origin.
If I could change something about this piece, it would be the lack of clean and sharp lines. I will work on honing my sculpture skills in the next piece. This style needs to be explored, and I have quite a few ideas I’m very excited to implement.
Thanks for stopping by, and please check in again soon to see what I have been working on.
My latest piece is entitled “Nights over Algonquin part 2”. It is part of a series I did with a deep-space black background.
The concept was to create a piece where the colours would jump out and create a sense of excitement.
Neon permanent green flows along the bottom of the piece as the dependable earth cradles us. A sea of blue is nestled within the fields of green as well; but, what I enjoy most about this piece is the sky.
In my eyes, the gorgeous blendings and splashings of silver, blue, and pearlescent violet against the deep Mars Black background remind me of an surrealistically neon light. The colours are almost alien, yet still emit a feeling of familiarity. The result is an excitement-filled piece that allows me to discover something new to love about it each time I lay my eyes upon it.
My latest piece is warm, golden, azure blue-esque, iridescent and metallic. (The hour that I write this is a very late one, so bear with me.)
This piece is small, yet the impact is big. Deep layers of varying shades of blue act as the backdrop of this work. Looking deeply, one can observe a light sheen of translucent turquoise that has an ever so slight iridescent quality.
The concept of this piece began with a desire to have a richly layered blue foundation for another rich, yet contrasting , metallic gold acrylic pour. I think this piece is another excellent example of the participatory feature of my work. The viewer of the work is the most important decipher-er of what it means. I can tell you what it means to me; however it is only a mere suggestion to the next set of eyes.
During an experimental session of making art canvas, I tried my hand with using thin and lighter weight wood to build small 5 x 7 inch frames. My intention was to design something that had commercial applications; and right now in the online art world it is simple to make small art pieces that can be easily shipped at a minimal cost.
My three piece art series is a cerulean blue and gold set of abstract landscapes entitled:
01 Sea Breeze
02 Sea Breeze
03 Sea Breeze
The first is a rocky scene.
The second has points.
And the third is simply the sun, alone against the world. I used acrylic texturizer and pouring techniques to layer hues of blue over top other darker hues. The result is a backdrop with uneven colours that look like an abstract sky. “Stephanie’s sky” as I like to think of it.
My latest painting is a splendid mix of bright yellow, iridescent blue, and white. There is a surge of excitement in this piece, and some mystery as well.
As of yet, this painting is unnamed, which may as well be since I feel like it will have a short time with me as its owner. The eclectic blends and pops of colour on this unnamed work make it ideal for digitizing– a run through on Photoshop would produce some interesting lines that are invisible to the naked eye.
I feel like there is a story being expressed here- the bright yellow is the base layer, excitement and uncontrolled raw delight. The Id. Over head, clouds of opaque blue close in, partially encompassing our view of the excitement. Protective. Finally, white snow splashes and swirls at parts encroach over it’s lesser layer. Reason and altruism.
A few blue explosions that look mysterious in their origins remind us to expand once in a while.