Once again today I have returned to review a piece from my portfolio, and it is a piece which ties in very well with the work I am currently involved with. This is Waterfalland it was produced in 2008. It was actually one of a series of three similar paintings which I built at this time where I was experimenting with free-standing forms and painted surfaces. This was probably the most successful of them as it really tied the form and the painting together. The paint was applied very thinly from the top of the canvas with a lot of thinner and allowed to make its own way down and across the canvas over the double curve. I refer to the “double curve” here because there is not only the obvious curve created vertically by the stretcher, but  there is also a less visible “second curve” which runs horizontally across in at the same point and is caused by my tensioning of the canvas in this particular way. This is a phenomena more clearly shown in the next piece I will show from my portfolio, Reality Plus One, in a few days time. 

I say that it ties in with my current work, which it does but only up to this point. The important difference between this and what I am currently doing is the fact that it does actually involve a curved stretcher to give it some of its form whereas the new work relies exclusively on this second curve for its forms. The new pieces which  I am working on at the moment derive all of their curved forms from the cross tensions created in the canvas when it is stretched on straight, angular, stretcher bars. I don’t at this stage know quite how far this will allow me to go, but I do have some new ideas under development which I will continue to explore over the next few weeks, watch this space for its further evolution.