The Fulham Oyster Pot and Dayboro Limes
80x120x4cm
Framed size 82x122x6.8cm
This painting is part of a new series of still life created for my solo show " A Sense of Self"
Objects preserve a wealth of significant emotion and connection, serving as physical embodiments of identity. Their narratives project a sense of self while sharing stories of lives lived in other places and times. They hold a physical representation of experience, speaking of familial ties and the story of who we were, who we are, and where we have been.
I bought the oyster pot from an ethnic gift store on Fulham Road in 1989. We had moved to London so David could do his first year in practice for his architecture degree. We moved to Bermuda in 1993 and the pot stayed in Darlington, displayed on the bathroom window sill at my parent's home in Darlington for the next 25 years.
The Dayboro limes came from Jill Lincoln's garden. They were harvested from a plant gifted to her by Sandy when Sandy moved to Sydney.
The Fulham Oyster Pot and Dayboro Limes
Frame
Framed in a custom, hand-produced, meranti (hardwood) float frame for a contemporary aesthetic which complements any interior.
The frame is hand-constructed, sanded and waxed in the studio. A wire is attached to the rear of the panel with brass d rings and is ready to hang
Please note the framing images are for reference only so you know what to expect.
Panel
I paint on custom hand-constructed ply panels, known as a cradled panel, I prefer a wood surface to canvas. I can paint on canvas for commissions if you prefer.
Construction : 3mm ply surface plus 42 x 19mm 1.2m DAR Pine for edges
The panel is gessoed with 3 coats of white acrylic paint to seal and create an even painting surface
Finish
Acrylic paint is notorious for drying to a flat dull surface despite being super shiny during application. I apply 3 coats of gloss acrylic medium with 24 hours between coats.
The gloss medium enhances the colour, texture and layers.
Beeswax is applied with a cloth for a soft satin finish. The wax is stable even in a Queensland climate.
Please note my paintings generally have a smooth profile without impasto technique.