Migration | Taken Painting

Swipe to see additional gallery images Process: It took me 6 months of trial and error figuring the right canvas maker that gives my watercolour technique the right absorption versus spreading, right colour after drying, possibility to reapply layers without lifting the paint reaching the right intensity as a final result. It took me same amount of time to test various paint makers to figure best that leave a distinct edges upon drying. Large canvases certainly give me more joy when they are finished and present greater challenge during the making. Seeing delicate lacing on this scale is truly makes a viewer go wow (while I quietly observe their reactions at the back…). As for inspiration, it goes like this. My whatsapp and email are permanently inundated with photos of dramatic skies on a cloudy day, romantic sunset or that sunrise which almost moved you to tears from every friend in my contact book. And I look. I gaze with awareness. I analyse the lines and colour combinations. Yes, I might be that strange girl you see on the train in the evening that stares with tense face into her phone display… I load my memory with shades and forms only to forget them all at the moment when I take on a blank canvas. Starting new painting I shut down the unnecessary references taping into the visual memory and imagination. I never use photos when I paint sky. Don't want to spoil the excitement when warm beige looks unexpectedly strong on cooler greens and the satisfaction from random intertwining of lavender and shell pink. All that is a journey that stops precisely at the pick. About Migration: Migration is my signature collection that undergone evolution in just over 12 months and started with my encounter of Astrid Bin installation called ‘One Thousand Means of Escape’ featuring a cloud of suspended paper planes. I kept that emotional seed and developed my own feet of paper planes that sometimes happy, sometimes moody. In a hurry or undecided where to next. I liked that subtle parallel of a simple manmade object with divine ability to levitate, its fragility and yet determination to defy gravity. Every painting is at least a 12 hours a day 4 days straight self discovery journey completed on one breath. A short but intensely lived paper plane flight of my creative living. = Medium cotton grain canvas Watercolour is used to crate flowing texture Sealed with synthetic medium to prevent staining yellowing and fading. So despite its delicate nature the colour will not fade much over time. Three layers of matt varnish also well protecting the painting and making the surface pleasant and sheer to touch. Touched with oil layer and highlighted with white acrylic. = If unsold, will be included in the solo exhibition between 31 Oct and 05 Nov at 657 studio art gallery, Fulham, London