The Absolute series of paintings often pairs natural elements along side more man-made subject matter. As I explore my surroundings for content that matches with the overall vision of my next piece, I find that my work naturally has corresponding seasons with the world around me. This year’s spring has brought with it new inspirations and new adaptations. Now introducing Absolute: Mend, my latest oil painting. Continue reading to see more of this piece.
Absolute: Mend, Oil on reclaimed oak. 16″ x 31 1/4″. 5.4.15.
Today’s post is short and sweet. My “Absolute: Value” painting has a newly updated photo. It’s a small piece with lots of impact.
Click on the images to see larger versions.
Absolute Value. (the cherry blossom orchid): oil on panel. 7 1/4″ x 4 1/4″. 6.2.11.Absolute: Value. (the cherry blossom orchid): oil on panel. 7 1/4″ x 4 1/4″. 6.2.11.
“Absolute’s Complement: Asymmetry”: oil on panel. 10 1/8″ x 7 3/4″. 7.1.12.
Last week I shot a few more paintings as part of my portfolio update. This piece is called Absolute’s Complement: Asymmetry. The piece has many layers of translucent paint that creates the feel of undulating rust. This glazing process allows for a surface that is entirely flat with only the appearance of texture. Similarly, the hand-built frame has a wash over the surface to give it a more weathered look.
After a delightfully busy week of studio work and paneling an art festival, I’m continuing the process of re-documenting my collection.
“Absolute: Radiance” (detail), Oil on reclaimed quilted walnut. 11 3/8″ x 8 1/2″. 6.14.13
It’s not the biggest or the smallest piece in this series. It doesn’t hold the most humor or even seem as conspicuous as some other pieces in this series. But this piece holds a lot of information for portraying so little. It’s the sometimes less is more analogy. There’s also a lot of hidden secrets in this piece. Painted on quilted black walnut, even its fairly small dimensions are a sneaky deception. Absolute: Radiance weighs as much as a piece 3 times its size due to its thick cross section. The security code usually stamped on the back is hidden on the side wall of the wood. Even the materials it is made of has a literal and figurative duality.
This painting depicts a bent nail resting on a vein of halo’d metallic gold paint. This effervescent vein follows the grain pattern of the wood and changes sheen based on where the viewer stands. As you have read, there’s some interesting aspects of this piece’s process that makes for some cool behind the scenes information.
The real nail used as subject matter is still IN the piece… after it was liquified and used to dye the frame.
Daric Gill 
You must be logged in to post a comment.