‘Forever Falling’ – J Edward Neill – 2018
For more art like this, visit Down the Dark Path.
Creepy gothic cathedrals.
Ancient dark towers.
Fantastical sky-piecing minarets.
Some of these are among my older (and therefore cruder) works.
Others are more recent.
Quality notwithstanding, painting dark towers is among my favorite things to do, second only to drawing attractive women.
For more, go here.
For previous art assaults, go here.
After a short layoff, I’m back to doing terrible things with my paintbrush.
Dark cities, twisted terrains, and this time around, an eerie, abstract tree.
I call this one, ‘The Last Autumn.’ The original is for sale here, if you’re interested.
Now let’s talk about how The Last Autumn came to be:
It all started with a 24″x 24″ super-thick white canvas. I used a straightedge, a level, and a twenty-year old pencil (yes, really) to divide the canvas into perfect halves. With my little wooden palette, I paired up acrylic golds, blacks, reds, yellows, and whites. I mixed them at random, and when I was done with the first coat, I poked golden dots all over the right side of the canvas. Voila. What you see above.
For the left side, life got a little easier. I mixed gold, black, and umber, and went nuts with fast, broad strokes. Before it dried, I poked little white ‘leaves’ into the background. The difference between the two halves was stark. I loved what I was seeing.
About 0.0003 seconds before starting with the right-side tree, I had a revelation. A. I wanted to flip the painting over so the darker half would be on the right and the red/gold half on the left. I have no idea why. It just felt right. B. I pulled out a sand-based gel with which to paint the tree. For those not familiar, the gel adds a texture you can see and feel when you’re up close to the painting. It’s so ridiculously fun to paint with; I suggest everyone try it.
For the left side of the painting, I mixed pure black with more sand gel. I used four different brushes, starting big and working down to the tiniest branches using pretty much the smallest acrylic brush you can buy. It was tedious, but I loved it. Each flick of my wrist gave life to a new branch. The picture here is pre-varnishing; the sand gel takes forever to dry. The plan for this painting is to use a heavy gloss, which will make the colors pop and allow The Last Autumn to be a centerpiece for any room.
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Thanks for reading!!
To buy The Last Autumn, go here.
Author of Matrix-like A Door Never Dreamed Of.
And creator of the Coffee Table Philosophy series.