About the image:
Are you wondering what you're looking at? We're at the base of an iconic building, 30 Saint Mary's Ax, also known as Foster's Gherkin, to be precise. A fascinating structure which was engineered as a simple ovoid shape. I was instantly struck by its simplicity and the smoothness of its contours. Simple it may look but not simple in construction. It's an engineering challenge since each pane of glass is unique, no two are the same size or curvature. As in construction, simple compositions are deceptively complicated to achieve, especially when curves are involved. This image is essentially composed of straight lines, but there are some gradual curves which would become more obvious if you were able to follow them upwards.
What drew my eye to the base, where the building meets the ground? I often find interesting junctures, between a building and the ground, but these are often accidental. In this case, they're designed to challenge perception. They look too small, the entire weight of the building seems to be resting on these tiny points. Obviously, they were designed to create this illusion, but there's a part of my brain that refuses to accept it as possible. My eyes have been fooled and the magic is working.
This fascination resulted in a photograph, and could have stopped there, but the intersection of shapes and textures in the image spoke to me, demanding to be painted. So I listened and, with the beginning of the painting, something new emerged. I always find paintings start a journey of their own. They begin with be a plan or map, in mind, but during painting the dynamic nature of the techniques I use takes over and watercolour and inks find their own path. I have a choice: do I fight it, or do I let the paint take over?
I've discovered the best results occur when I let the colours move freely, and allow the painting to evolve organically. I never know what I'll discover, but allowing the discovery to happen results in a living creation. One that engages the viewer more immediately than the stifled result I'd achieve by meticulously controlling the results and fighting the watercolour every step of the way. It's like the soul of each painting is born.
