Template Black White Painting by Colin McCallum

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The Template series dates back to 2012 and I have created several versions since experimenting with the technique of pouring. The paint is poured onto fluorescent white, I mix the colour specifically to the shade I want and the preparation is essential to the final result, I control the paint as it flows but it has a life of its own so I can never be sure of the shapes, the canvas is left flat until paint is totally dry and only when I place it upright on the wall can I see the final image, it is always exciting and each one is totally unique, it is impossible to replicate. These works contrast to my other series in that they are more organic in aspect and just use one colour on white, the simplicity of the technique and colour palette contrasts with the complexity of the shapes within the image.
The Template series dates back to 2012 and I have created several versions since experimenting with the technique of pouring. The paint is poured onto fluorescent white, I mix the colour specifically to the shade I want and the preparation is essential to the final result, I control the paint as it flows but it has a life of its own so I can never be sure of the shapes, the canvas is left flat until paint is totally dry and only when I place it upright on the wall can I see the final image, it is always exciting and each one is totally unique, it is impossible to replicate. These works contrast to my other series in that they are more organic in aspect and just use one colour on white, the simplicity of the technique and colour palette contrasts with the complexity of the shapes within the image.
The Template series dates back to 2012 and I have created several versions since experimenting with the technique of pouring. The paint is poured onto fluorescent white, I mix the colour specifically to the shade I want and the preparation is essential to the final result, I control the paint as it flows but it has a life of its own so I can never be sure of the shapes, the canvas is left flat until paint is totally dry and only when I place it upright on the wall can I see the final image, it is always exciting and each one is totally unique, it is impossible to replicate. These works contrast to my other series in that they are more organic in aspect and just use one colour on white, the simplicity of the technique and colour palette contrasts with the complexity of the shapes within the image.
The Template series dates back to 2012 and I have created several versions since experimenting with the technique of pouring. The paint is poured onto fluorescent white, I mix the colour specifically to the shade I want and the preparation is essential to the final result, I control the paint as it flows but it has a life of its own so I can never be sure of the shapes, the canvas is left flat until paint is totally dry and only when I place it upright on the wall can I see the final image, it is always exciting and each one is totally unique, it is impossible to replicate. These works contrast to my other series in that they are more organic in aspect and just use one colour on white, the simplicity of the technique and colour palette contrasts with the complexity of the shapes within the image.
The Template series dates back to 2012 and I have created several versions since experimenting with the technique of pouring. The paint is poured onto fluorescent white, I mix the colour specifically to the shade I want and the preparation is essential to the final result, I control the paint as it flows but it has a life of its own so I can never be sure of the shapes, the canvas is left flat until paint is totally dry and only when I place it upright on the wall can I see the final image, it is always exciting and each one is totally unique, it is impossible to replicate. These works contrast to my other series in that they are more organic in aspect and just use one colour on white, the simplicity of the technique and colour palette contrasts with the complexity of the shapes within the image.
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Template Black White

Colin McCallum

United Kingdom

Painting

Size: 51.2 W x 38.2 H x 1.6 D in

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About The Artwork

The Template series dates back to 2012 and I have created several versions since experimenting with the technique of pouring. The paint is poured onto fluorescent white, I mix the colour specifically to the shade I want and the preparation is essential to the final result, I control the paint as it flows but it has a life of its own so I can never be sure of the shapes, the canvas is left flat until paint is totally dry and only when I place it upright on the wall can I see the final image, it is always exciting and each one is totally unique, it is impossible to replicate. These works contrast to my other series in that they are more organic in aspect and just use one colour on white, the simplicity of the technique and colour palette contrasts with the complexity of the shapes within the image.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:51.2 W x 38.2 H x 1.6 D in

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I studied at Camberwell School of Art London, at that time largely known for producing figurative painterly artists. However, I was influenced by abstract painters, and moved away from the figure. My art developed into large-scale painterly figurative based abstract painting, using oil on canvas, always more tonal than colourist. Having always lived in London, the energy of a big city has soaked into my being and I began to move away from observational painting to using images from my experience and imagination rather than what was immediately in my field of vision. I spent several years living and working in Barcelona, here my work began to take another direction, it was not a conscious decision, it just happened. In recent years I moved away from using oils to acrylics and began experimenting with a variety of paints, mostly interference and fluorescent, along with pens and sprays and creating my own stencils, the results pushed me further into another direction. I had never considered myself a colourist, but as time has passed I have become increasingly more interested in colour and how pigments react with each other. Sometimes choosing to use pure colour from the tube, at other times mixing. The new materials allow me to combine complicated layers with intricate pen details or stencil work. Ultimately, they are not decorative, despite having elements of repeat pattern and motifs, the imagery is intended to offer an alternative reality, not identifiable but always present, lurking under the surface. The city stimulates me in every way, its many layers and complexities which come into play in my imagery. The visual overload. I am interested in finding ways of translating this energy and chaos into a painting, which whilst being one flat surface, can also provide depth and dimension and optical excitement. My art is executed by hand, by brush, by pouring or dragging paint, mark making, yet can appear digitally enhanced or manipulated. Technology is an influence because in contemporary life we are increasingly surrounded by it and reliant up on it. However, by choosing to use traditional mediums, such as paint on canvas, I am also reacting against technology to produce something unique, hand made and coming from within me. I work in series, each one feeding off each other. I have a wide range of interests that often require a different technique, forcing me to adapt and experiment.

Artist Recognition

Artist featured in a collection

Artist featured by Saatchi Art in a collection

Featured in Inside The Studio

Featured in Saatchi Art's curated series, Inside The Studio

Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in London, London, London, London, London

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