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Fire Three |
|
Acrylic on canvas |
|
90cm x 60cm |
Burning different
materials created differing flame patterns and flows. Here the
movement is liquid and syrupy. |
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My fire paintings are unlike any of my
other work, in that I must begin by creating the very source material
itself – the fire. Most resource subjects are tangible, they are
available objects that can be pondered over to achieve the desired
lighting, or returned to when required. Here, I have to create the
subject. The spontaneous and unpredictable nature of the fire means
that I have to hope that the images I collect are usable. These
images capture a solitary moment of this ferocious element.
Foremost is the importance of safety; I use a large tin bucket to
contain and control the fire, and I always have a water hose at hand.
This gives me the ability to safely experiment and burn different
materials. Burning wood, cloth, or paper shreddings, for
example, can change the ferocity of the fire, altering the nuances of
colour, creating diverse images; some sparking fire ribbons or
rivulets of flame, others generating large billowing bursts or tiny
fireballs.
Using my digital camera enables me to freeze the flow of fire at a
speed the eye cannot register. The captivating shapes, patterns, and
rhythms normally unseen because of the speed and glare of the flames,
leave me fascinated and inspired. I take hundreds of photographs and
always ensure I have spare batteries at hand! I go out at dusk for
these sessions because the lighting is at its best to give me the
results I want; full daylight dilutes the strength of colour of the
flames and the complete darkness of night causes glare and over
exposure.
Back in my studio I study and analyse the photographs. Composition,
contrast, colour balance, and punctum are my strongest areas of
consideration. Having made my final selection, I start the painting
process. My usual method of working on the canvas in sections is
vital in order for me to execute the complex elements of such a
painting. Creating depth by building layers from under painting,
achieving luminosity, and using blurring to allude to movement are all
skills that I have learned during the creation of these fire
paintings. These are valuable and essential skills that I continue to
explore and develop.
 |
|
Fire Two |
|
Acrylic on canvas |
|
61cm x 61cm |
The
information and processes learned through creating the fire
paintings were invaluable to me. Building layers of colour to
create depth. Holding back to ensure opacity. The value of the
white canvas to achieve luminosity and purity of colour when
applying a single layer of paint. |
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|
 |
|
Fire Five |
|
Acrylic on canvas |
|
91cm x 71cm |
The abstract shapes
in this image made it irresistible for me to paint. It’s such a
joy to see and recreate these obscure essences of nature. |
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|
 |
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Fire Six |
|
Acrylic on canvas |
|
91cm x 61cm |
Blurring and blending
the edges of the paint to soften them helps to communicate
movement. The rivulets and ribbons of flame here remind me of
flowing silk. These fabric like undulations give a soft passive
feel to the flames. |
|
 |
|
Fire One |
|
Acrylic on canvas |
|
90cm x 60cm |
Watching a fire is,
for me, mesmerising, but the speed and ferocity of the flames
leave my eyes chasing disappearing shapes and flares. Freezing
those moments with my digital camera allows me into a
fascinating world. |
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