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| S Swarez | |
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Born in Brimingham in 1969 I now live in the historic town of Cheltenham. |
| About the Artist | |
I just love to paint really, especially the large stuff - big canvas paintings are a speciality of mine, five to ten feet wide are the sizes I normally work with. I paint mainly in the drip painting style which suits large canvases very well. The art of Jackson Pollock is a constant reminder of what is possible and what lies beyond. |
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| Click to enlarge images (if larger image has been loaded) |
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Morpheus
2009 |
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| Morpheus is painted onto a flat sheet of canvas, primed three times before painting. He was framed using 2 inch square section seasoned timber and handmade to fit the canvas. He is painted in industrial black and white gloss enamel paints thinned using my secret formula. I used a controlled pour technique to create the effects you see. The whole painting is rammed full of intricate and very fine detailing. In areas of black there is an element of cratering down into the canvas. I achieved this by carefully playing with viscosity of the paint in certain parts of the painting. |
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Dante
2009 |
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| Dante is painted onto a flat sheet of canvas, primed three times before painting. He was framed using 2 inch square section seasoned timber and handmade for the canvas. He is painted in enamel and acrylic paints. I used rollers, brushes, scrapers and paper to create the effects you see. Reminded me of the first part of Dante's epic poem 'The Divine Comedy' |
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Samson
2009 |
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| From a sensible viewing distance the painting is very controlled and linear (i.e. the painting is very balanced, no single part of it dominates another - almost like it's made up of a single entity). I did not want to highlight any particular area as this would detract from all the other areas - and because it is so big this would be a disaster as you would miss the rest of the painting from this distance. Getting a flat, uniform appearance from a drip technique is hard to do and requires constant monitoring as the paint is going on. This continues up to the point at which, as you get closer, individual shapes, patterns and textures become apparent. I use many types of application techniques (gestures) to get the look I want. You can't just throw paint around and expect it to look good. |
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Neo
2009 |
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| He is painted in industrial gloss enamel paints thinned using my secret formula. The background colours were fused together before the top layer of white was applied. I think there was a lightning storm the day I painted this so that must have been an inspiration for the patterns and scale of the painting. |
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Pedro
2009 |
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| I have tried to offset the vibrancy and dominance of the purples and yellows by calming the shapes with blends of white. These three colours are brought together by the burnt sienna which adds an earthy, stable content to the painting. The shapes I have created are simply born out of the freedom of moving my brush - I didn't have any real agenda on where the shapes should be placed or what they should look like, however, I am always mindful about getting balance in all of my paintings and with Pedro this was extremely important. |
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Tyler
2009 |
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| He was created using red, white, black and grey gloss and matt paints. I used a PVA base on which I layered alternate colours of red and black using a controlled pouring technique. This was repeated for white and then again for red and black - with a little drying time in between. Finally I added grey accents to lift the colours together. I was conscious about giving some circles real depth whilst others have very loose and fluid lines, this was done to avoid the painting becoming overbearing and angry considering the boldness of the three colours. There is a hint of slate grey in the accents on some of the swirls which was added to release the tension of the black. Tyler is a great example of a painting that shouldn't work but does. That's probably due to the care and thought that went into painting it, even though it looks like a random collection of wavy lines. |
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Hamish
2008 |
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| The client's brief was for a painting with purples, creams and chocolate and in a circles theme. I actually went straight in and painted without a design as it was a present for someone and I was instructed just to paint. How trusting? Hand on heart, the feedback I got was amazing |
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Barry
2009 |
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| used seven colours of acrylic paint, some water and four brush sizes to create Barry. I actually started painting this as horizontal stripes in various colours but soon decided this looked far too boring. Interestingly there are some very subtle colour changes in this painting - you can pick out yellow, gold, red, mocha, auburn, ochre etc.. depending on lighting conditions and where you view it from. Like so many of my paintings, Barry seems to change constantly throughout the day. |
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Vernon
2008 |
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| As you get closer you can see lots of fine detailing in the stroke work, particularly on the white area towards the bottom left corner and also on the pupil where you can see that this circular shape is made up of small vertical and horizontal strokes with the wallpaper scraper and is not painted with a brush. In fact, all the circular shapes in the painting are made out of squares or up and down gestures with the wallpaper scraper. Very fiddly but worth the effort. I like the way the lashes of the eye appear to be underneath the main layer of paint. I used one shade of white and black acrylic paint, one 2 inch brush and two wallpaper scrapers. |
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Shamus
2008 |
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| Just fancied doing something warm and cosy for a change. |
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| Education and biography | |
| Oh, well, I have no art training, no degree and I haven't participated in any exhibitions. All my work goes through my website. I may do some shows in 2010. | |
| Future shows | |
| N/A | |
| Website: www.swarez.co.uk | |
| IF YOU ARE INTERESTED IN CONTACTING THIS ARTIST, CLICK HERE | |
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