Tides of Transformation
Introduction
Tides of Transformation began in Paris, with Mallarmé’s swan trapped in winter ice, dreaming of the sky it once knew. On hand-prepared wood and copper, in oil, sumi ink and silverpoint, sleeping figures drift in still water among vast chrysanthemums, while swans and peacocks lean toward them like quiet heralds. The birds are awake. The flowers are open. The paintings are not about loss or struggle. They ask whether we are awake enough to see the extraordinary world right beside us.
Oils on metal
Oils on wood
Process
The journey of each painting in “Tides of Transformation” begins long before the first brushstroke touches the surface. I start with carefully selected birch panels, which I personally cut to my desired dimensions. This hands-on approach allows me to connect intimately with the foundation of each piece from the very beginning. The choice of birch is deliberate; its smooth grain and stability provide an ideal surface for the intricate work to come.
Once cut, I begin the crucial process of preparing the panels. The first step is applying a layer of PVA size. This water-based sealant penetrates the wood fibers, creating a barrier that prevents the oil from the subsequent layers from seeping into the wood. This not only preserves the integrity of the panel but also ensures the longevity of the painting itself.
After the size has fully dried, I move on to the priming stage. I apply multiple layers of oil primer, allowing each to dry completely before adding the next. This oil-based ground creates a slightly absorbent, perfectly smooth surface that enhances the luminosity and depth of the oil paints to come. The multiple layers build up a resilient foundation, capable of withstanding the various techniques I employ in my work.
Once the final layer of primer has cured, I carefully sand the surface. This step is crucial in achieving the flawlessly smooth ground that my detailed work requires. The sanding process also slightly increases the tooth of the surface, providing just enough grip for the paint to adhere beautifully.
The final preparatory step involves applying layers of paint. This toning process serves multiple purposes. It eliminates the stark whiteness of the primed surface, providing a warm, neutral base that enhances the depth and richness of the subsequent layers of paint. It also allows me to start visualizing the composition and tonal values of the piece before I begin the actual painting.
This meticulous preparation process is essential to achieving the quality and depth I seek in my work. It creates an archival-quality surface that not only enhances the luminosity and longevity of the final painting but also provides the perfect foundation for the intricate details and subtle color transitions that characterize the “Tides of Transformation” series. Each layer, from the initial sizing to the final toning, plays a crucial role in bringing my artistic vision to life.
