While I had always harbored an unexplained inclination towards abstraction, it is only recently that I have started to explore this form a little more in detail. Part of the exploration involves trying out hitherto untried (at least by me) combination of materials on masonite. Here are two paintings that I attempted recently using a combination of wet gesso, Indian spices and acrylic.
Sunil Gangadharan, ‘Untitled_111007’, Acrylic, Indian spices, latex based housepaint and gesso on dricore, 24″ X 24″
To achieve the dynamic effects and an impasto finish, it was imperative that I work wet on wet – which also meant I could not mull too much on the outcome, just add the colors and the paints as relevant and then stand back and ponder the results…
Pure abstraction is somewhat akin to nature, random interplays of relevant forces that yield unpredictable patterns, moods and feelings.
At certain points during creation of these paintings, I felt some of these interplays intensely.
Sunil Gangadharan, ‘Untitled_111707’, Acrylic, Indian spices and gesso on dricore, 24″ X 24″
The first painting is a whirling cosmos, the second painting is more static, like a rock face.
What Indian spices did you use?
The first one is compelling…It looks like chaos just about ready to resolve into form. The painting is the moment before it becomes something else.
Birgit,
I used those spices whose color would transfer unadulterated with wet gesso. After some experimentation I found that coriander, red chilli (a particular species that my mum knows best) and turmeric bode well…
McFawn,
I liked the second one due to the heavy impasto texture that the gesso patterned itself with careful maneuvering… Glad you liked the first….
I seem to have similar reactions to Birgit’s and McFawn’s. I definitely like both, but the implicit structure and movement in the first, with the arcing lines, make me want to spend more time exploring it.
Using Indian spices was a stroke of genius. I imagine it has very interesting surface effects I can’t see well in these pictures, and it certainly raises the novelty factor.
I agree with your sense of these as “akin to nature.” The first is reminiscent of chaotic branches and foliage, and, following Birgit, the second reminds me of a rock like this one from Steal this idea:
Sunil:
You definitely have the touch.
Pardon me if I go anthro again, as is my wont, but your use of spices reminds me of photos I have seen of festivals in India. I remember participants splashed red with spices.
I would imagine that an encounter with one of these paintings would put me in a state, as I have a strong associational component to my nose. That and a background of Indian music.
Sunil,
Fascinating work – and as Jay said, suddenly I can smell that wonderful spiciness that your materials evoke.
I was surprised at the strong differences between the two paintings — the curved and vertical overlain lines really evoke an explosion of materials and colors and movement. Whereas the controlled (strange word given the appearance of the work) nature of the second, which also bleeds off the edges but in a much more calm fashion seem to evoke something close to stasis out of chaos. I wish I could see the texture better — can you upload a close-up where the impasto can be seen?
I’ve been playing with abstractions, too, but I can’t get the hang of doing this kind of wondrous massive-feeling work. Maybe I need some tumeric.
Oh and I also like the black voids — they help prevent the eye from running totally off the canvas.
the black voids, also appreciated in Steve’s photograph.