When I was working on this 30x30cm piece, I wanted to create something that felt both raw and luminous. The first thing people usually notice is the large patch of white paint that glows out from the darker background. I like the way it sits slightly off centre, almost like light pushing its way through shadow. Around it, I’ve built layers of earthy browns, burnt oranges and hints of red, which add warmth and energy. Those colours remind me of rust, fire, or the textures of weathered stone, and I enjoy how they contrast against the cooler, darker areas.
If you look more closely, you’ll see that the surface isn’t flat. There are scratches, rubbed back patches, and even faint circular outlines that sit beneath and across the paint. These marks are traces of the process earlier gestures that I didn’t cover up completely. I think of them as ghost images or echoes, little reminders that a painting is built up over time rather than appearing all at once.
For me, the mood of this work is about contrast light and dark, warmth and cold, chaos and order. I like that it doesn’t have to depict anything specific you might see fire, a burst of light, or even something completely different. What matters to me is whether the shapes and colours spark a feeling or a thought.
Viewers sometimes sense echoes of other artists in my work perhaps Twombly in the loose scribbles, Basquiat in the layered grit, or Tàpies in the earthy textures. Those influences are there, but what matters most to me is that each person can find their own meaning or mood in the painting.
I used Golden OPEN Acrylics for this work. They are acrylic paints designed to mimic the slow drying qualities of oils while retaining the flexibility of acrylics. Unlike standard acrylics that dry quickly, OPEN paints remain workable for hours, allowing for smooth blending, glazing, and detailed refinement. Their buttery consistency makes them ideal for both broad strokes and fine brushwork.
They can be mixed with regular Golden acrylics to adjust drying time, or with OPEN mediums to extend flow and transparency. Fully lightfast and durable once dry, they are best suited for portraiture, landscapes, or any work that benefits from subtle transitions. Less effective for fast impasto layering, they excel when patience and control are key.
The paper used for this and many of my works on paper is Magnani Portofino paper it is a high quality, mouldmade paper produced in Italy, designed especially for fine art applications. It is 100% cotton, acid free, and archival, which ensures durability and resistance to yellowing over time. The surface is softly textured more refined than traditional watercolour papers making it versatile for a wide range of media, including watercolour, gouache, ink, pencil, acrylic, and even light printmaking. Its absorbency is carefully balanced: it holds washes well without excessive bleeding, while still allowing crisp lines and delicate marks. Magnani Portofino combines traditional craftsmanship with modern standards, offering a luxurious feel that enhances the act of painting or drawing.
©️2025GRW
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