Polluted Blue No. 10 Painting

With his series ‘Polluted Blue’ the artist is searching for a new type of realism to represent sea sights. A realism in line with the values and movements of our century. Therefore he developed new painting methods and additional concepts. This results in an objective representation where he reduces the traditional ‘human aspects’ that are common for sea sights (boats, beach, lightning house, etc. ) just like in abstract paintings but without reducing its realistic quality. The realistic aspect of these paintings doesn’t rely in the visual aspects of it but more in the material aspects of it and the methods used to paint with them. These paintings are made out of the most important components of a ‘regular sea’ (every sea has its own molar composition, but for these works the artist chose the most common sea values ‘average sea’). Water (H2O), Natriumdichloride (NaCl), Natriumsulfate (Na2SO4), Magnesiumchloride (MgCl2), Calciumchloride (CaCl2), Magnesiumbromide (MgBr2) are used to implement the materialistic aspect of the sea in these paintings and generate different structures or soft insinuations. You could argue that the artist tried to obtain the most objective point of view towards the sea. The most objective viewpoint would probably be that of a computer that picks a random viewpoint towards the sea instead of a human choice. The chance that the computer will pick a viewpoint from inside the sea itself or some kind of bird view from above is much more likely than a perfect image from the beach with boats, lightning houses etc. Therefore you may interpret the composition of these paintings as a viewpoint from inside the sea itself and therefore a more objectified composition. I will not go in detail into the painting method but it is important to understand a part of it in order to feel the complexity of the technique. The artist wanted to obtain the most reflective and intense qualities of watercolour paintings and therefore painted it ‘wet in wet’ in one moment (no multiple drying processes, no multiple layers added after drying). Normally it’s impossible to generate a lot of structure within a ‘one moment wet in wet’ painting, but with the techniques that the artist developed it is possible to combine a lot of structure while still maintaining the soft flow that is inherent to the wet in wet watercolor approach. The title of the painting is quiet simple to explain. While painting this image the artist ‘polluted’ the painting in order to create a blink towards our contemporary environmental problems where the sea gets polluted in various types of ways. Most of the techniques the artist uses are unique (only used by the artist), some of them are patented and therefore intellectual property of the artist. Only he is permitted to use them. Enjoy,