Wisteria in Bloom Painting

Like all of my work, the paintings in this series are very personal. They are me. The embodiment of my ideas and emotions, inspiration and artistic sensibilities. Through my painting I am endeavoring to elicit an emotional response, to connect with the viewers and allow them a glimpse into my soul. This painting was the first work I completed after my recent trip to Japan. It references the Japanese wisteria that winds and rambles through a multitude of structures in that country. But like the others in this series, this work is primarily process- based, and its main inspiration is the pigments and techniques used to create it. It is a work of mixed media. I use a variety of materials, including fluid, soft-body and full -body acrylics, inks, airbrush paints, and fluorescent paints. In place of brushes I use various implements like spoons, small bottles, painting knives, dish scrubbers, as well as rags, my hands, or anything else that gives me the effect I'm looking for. This way of painting is very intuitive, each gestural movement leading to the next. It embraces the ambiguous territory between spontaneity and deliberation, and allows me to control the process while respecting the 'joy of chance'. I believe this approach remains in the finished painting as an echo of the process of its creation. This abstract painting is a triptych, done on three separate panels that can be hung flush together or slightly apart. Each panel is 36" high X 24" wide, making the total measurement of the work 36" X 72". This makes for a large-scale painting that is easier to hang and much less expensive to ship than one of comparable size done on a single canvas. This colorful abstract painting is done on gallery-style canvasses, which means the edges are 1 and 1/2" thick, and look best unframed. The edges have been left unpainted, in keeping with the preferred modern aesthetic, and also to honor the process of the painting's creation. Where the various pigments have dripped and splattered onto the edges of the canvas, they reveal the history of the creation of the painting and lend it a raw and unabashed authenticity. All three panels come complete with saw-tooth hooks which hang easily on a small nail. This is perhaps the best way to hang a triptych. The panels are light-weight, each weighing approximately 2 to 3 kilos. They ship easily, either together or in three separate boxes.