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Gelid Glade original acrylic painting on panel

$ 638.00 $ 475.00

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Hey – if you want to SEE this, use the supplemental zoomed in images to get a good picture. It’s all in the subtle textures and details! Please allow 7 business days for this original work of art to ship. This will ensure proper packaging and handling for its journey. Gelid Glade uses the properties of acrylic and paper fiber composite to fix and stabilize flow, texture, and patterns from different acrylic fluid media. The substrate for the painting is a novel paper-based material called “Artboard”, which combines the absorbent surface, texture and feel of paper with the chemical resistance, stiffness, and durability of an epoxy composite. It can take paint without priming, and fluid paint and ink absorb into the surface with only moderate spreading (which can be controlled by varying the amount of liquid). When a fluid color soaks into the surface it creates an intense, softly textured wash effect. Wash effects and controlled color bleeding, washing, and blending create the perfect backdrop for the complex texture highlighted in the gelid trees of the foreground. (really have a look at the close up images) I have been developing some novel techniques arounf the properties of a very elastic liquid acrylic medium. Golden Paint calls their version “clear tar gel”, while Liquitex has a very similar “String gel”. This liquid has a consistency and properties similar to honey. It was designed to be mixed with paint that tints the gel. When the air from mixi9ng is allowed to settle out of the tinted gel, it can be dribbles and swept across the canvas to create colored slightly raised strands. That’s how you’re supposed to use it. The honey-like consistency and properties help the tar gel make long thin streams on the canvas. One of the properties that keeps the streams thin and even is the elasticity of the liquid. Like honey it seems thick in the jar or cup. Like honey it can pour very thin continuous strands. And like honey, the liquid stream can be made to curl and bounce. I have been using the “bounciness” of these gel media to create complex patterns of color poured onto the canvas (or artboard). Instead of tinting the gel with an even mixture of color, paint is added to certain areas of the gel in a pouring cup. The rest is left untinted. When the liquid is poured, the color comes out as a separate stream, embedded in the clear medium. Bouncing the liquid creates rippled candy stripes, complex cellular flow instability patterns and lichen like patterns of threads entangled in the three dimensional clear film. The patterns can be further tweaked by selecting paints of varying viscosities (thickness) or by using inks in a solvent system that is miscible with aqueous media, but less readily soluble than acrylics. This technique is present in many of my landscapes and abstracts, but it’s usually integrated in with other techniques and patterns, adding to the overall texture rather than starring in the foreground. In “Gelid Glade” it forms the foreground and creates the subject of the piece. The monochromatic backdrop makes the subtle and complex textures and patterns from the elastic gels very visible. Materials used: Artboard (paper epoxy compostie), acrylic paint, shellac ink, acrylic ink