Mediums -
Acrylic, Ink and Expanding Foam On Canvas
Why is the piece titled 'Canyon.' -
The piece is titled 'Canyon.' due to the nature of the composition, as the name implies it was inspired by canyons, depicting the eroded abrasions in which the orifices of the canyon portray.
The acrylic was applied generously throughout the composition as to implement an impasto appearance of layering the pigments. I painted each layer through all a-prima, wet on wet; I did this as I wanted colours to form that I had not mixed over my palette, my attitude throughout the creation of this piece was using automatism, a process in which you allow the unconscious mind to take control. I did this as I wanted the organic nature of a canyon to shine through.
Much like the essence of Eskubis I wanted my application of the medium, to employ a tactile, I wanted to elaborate on the organic subject matter and the obscured perspective of each impasto based stroke. Rather than mundane and muted, I wanted to explore the nature of colour through the canyon and embellish each crevice with vivid pigment.Though Eskubis work is somewhat austere in that the form is ordained by a veil of enigma and endeavours to create a caricature of chaos and conundrum through each stroke, I wanted my work to inhabit a sense of Eskubis nature in application, rather than palette. I find his work to be gently surreal and evidently peculiar.
'Canyon.' is a surreal form, shrouded by elements of abstract impressionism and tactile vulgarity. The focal points of 'Canyon.' are the textures and colours of which it emanates. Going back to automatism, rendering a composition through the unconscious mind, much like Rothko enables there to be a coherent relationship between colour, regardless it being complimentary or not. During the creation of this piece I found it to be somewhat meditative, in that I was not contemplating what colour to use where, or how I wanted to apply the pigment. My mind was free of criticisms and because of that I produced a lucid piece that reinstates our relationship with colour in such a way, that Elaine a visually impaired family friend, was able to see this with ease.
In regards to exhibiting 'Canyon.' I would have it mounted over a plain white wall as to not stray the viewers eye from the detail of the piece. I would mount this in conjunction to my print plates and plaster intaglio based etching, creating somewhat of a tactile environment within the gallery. The reception received for 'Canyon.' has been a success in that a person with macular degeneration and diabetic retinopathy is able to differentiate between the colours and the form. I only hope that it will continue to do so in the future with a wider spread audience, along with future planned works.
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