heavy-duty canvas stretched over a custom-built, kiln-dried, plantation timber stretcher frame
Signed on the front.
Frame options by request
Warm greetings and gratitude for your interest in this remarkable artwork!
Rest assured, my commitment to quality is unwavering:
:) Unique and authentic artwork
:) Sturdy canvas construction
:) Custom-made kiln-dried stretcher frame
:) Gesso primed for ultimate tooth
:) Employing artist-grade paint
:) Coated with a clear varnish for lasting protection
In essence, this artwork epitomizes ARCHIVAL QUALITY.
Furthermore, the dedication to excellence extends beyond the artwork itself. I take great care in packaging and shipping your cherished acquisition. Operating with utmost professionalism and integrity is the cornerstone of my art business.
Finally, all artworks come with a Certificate of Authenticity, and a custom stamp of SIC (initials for artist - Stuart Ian Currie) on the back!
Thank you for your consideration!
To learn more, please read the artwork description below...
FieldsOfGold is a large intoxicating artwork referencing travelling to the country. This huge stunning golden abstract painting is based on childhood memories of travelling into country areas whilst going on family annual holidays. As a child, it was boring sitting in the back seat for hours just looking out the window. Being artistic, I remember regularly zoning out and going on my own fantasy trip in my head. So the scenery would occasionally become a blur. In this painting I wanted to recreate the blurred wheat fields as we passed on by. FieldsOfGold is a stunning golden abstract painting but it really sits within the abstract expressionist category.
Abstract Expressionism is all about action painting and colour field painting. Action painting requires vigorous application of paint, often splashed, thrown or poured. Colour field painting is all about large fields of bold, flat colours across the picture plane.
I generally play in the fields of ‘action painting’ in this genre. I love to start with a blank canvas and a clear mind. I collect a few colours as a starting point before making my first mark. The thickness of the paint will guide my technique. If my paint is thin I can attack the canvas with flicks of the wrist and watch the paint run down the canvas. The running paint becomes a metaphor for the pain and suffering in life. With thin paint, I can make splashes, drips or long-flowing gestural marks and this is when I am in the zone. I make my purist artworks like this.
If the paint I select has a thick viscosity I can use palette knives, rags, and sponges to apply the paint. Sometimes I like to use thin and thick paint together to create tension and texture, it makes the surface tactile.