It captures the frustrating sensation of waking up and trying to desperately hold onto the logic of a dream as it begins to melt, warp, and dissolve into the waking world.
— Oliver
+1
"The edge of the woods at night"
It brings to mind the feeling of standing at the threshold of a deep forest right as the light vanishes. The chaotic brushstrokes mimic the anxiety of not knowing what lies just beyond the shadow.
The eighth painting in the ongoing Order and Chaos investigation. The territory is more familiar now, which makes the surprise harder to find — and more necessary.
The eighth painting in the ongoing Order and Chaos investigation. The territory is more familiar now, which makes the surprise harder to find — and more necessary.
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Medium & Technique
While I often work to create a strong illusion of depth, the artwork is all totally flat. Trompe l’oeil (“deceive the eye”) became a popular term in the 19th century, though the artistic goal dates back at least to ancient Greece.
I almost exclusively use airbrush, other aerosolized paint, and masking (you could think of it as something like stencils. See the video below to learn more).
No photographic processes anywhere in the work.
I don’t use any digital processes to make the artwork.
I usually varnish satin. (My ideal is to varnish for the specific space and audience. Gloss enriches color in some spaces and creates awkward reflections in bright spaces that benefit from matte finishes.)
Artists carved the backs of gargoyles 150+ feet up on cathedrals nobody would ever see. I strive to be part of that lineage of craftsmanship.
I prefer making commissioned artwork to artwork for myself. I love dialog with an audience. Please contact me and usually a risk-free commission is possible.
Carsten Zehmisch does a wonderful job of showing airbrush techniques. If you are curious, please enjoy his fine Australian accent and skilled draftsmanship.