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I often prepare paper with raw pigment stirred into shellac. The result is casual but rich and full of texture. In this case I added frit (powdered glass) as well, for added texture and to reflect more light and enliven the background.

This composition weaves streaks of brilliant color into random patterns, like city lights reflected in a rain-drenched street. strokes of black pastel sharpen the contrast. These woven strokes of color remind me of individual lives woven into the ever-shifting patterns of the city.
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Night Composition Drawing

James McKenna

United States

Drawing, Pastel on Paper

Size: 22 W x 16 H x 0.1 D in

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$340

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About The Artwork

I often prepare paper with raw pigment stirred into shellac. The result is casual but rich and full of texture. In this case I added frit (powdered glass) as well, for added texture and to reflect more light and enliven the background. This composition weaves streaks of brilliant color into random patterns, like city lights reflected in a rain-drenched street. strokes of black pastel sharpen the contrast. These woven strokes of color remind me of individual lives woven into the ever-shifting patterns of the city.

Details & Dimensions

Drawing:Pastel on Paper

Original:One-of-a-kind Artwork

Size:22 W x 16 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Endurance and authenticity are the core of my 3D work. Many of my steel works are made with salvage steel and wood. Many are the exact shape and size in which they were found. Fragile surface features of metal—often various shades of rust—are preserved with careful hardware attachment and final assembly. Wood backings—mostly oak—are salvaged from hard-used industrial pallets. The surface of each of these boards is burned with an intense flame. Inner wood retains its strength, but the surface is cracked and fissured. Whether a material is raw, brightened, polished, burned or any of the other surfaces I use—all colors are inherent in the material. Steel appears in familiar gray, or it can be various hues of rust. It can even show colors natural to the metal when it is subjected to heat and glows red, yellow, or even white. Brass and copper may be bright or darkened with patina. Gilding is the butter yellow of pure gold. Texture is essential. Unusual uses of industrial tools create a wide range of textures. Some pieces of steel are spattered with liquid steel. Others have lines ground into them or deep gouges burned out with an electric-arc-based tool that reaches temperatures of 40,000 degrees, instantly boiling the metal and blasting it away. Materials you see in my works have had hard lives, but they have endured. Through all their transformations they remain themselves. An array of these works on your wall speaks of the your own authenticity, and of your endurance. I began in metal years ago as an undergraduate. Then it was small-scale objects of copper, brass, and sliver. Even then I leaned into the raw. My work often mirrored the rough aesthetic of Arte Povera. Through stints in writing, furniture making, photography, I developed my mature style. My work took on nuance and focus. The challenges and satisfactions of my life path underlie my art practice. What I’ve seen and what I’ve done, things I recall with joy, things I try to forget—it’s all here, transformed by my commitment to follow this vision.

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