Investigating technical aspects of accidental painting generated through manipulation of the fluid dynamics of paint when subject to Rayleigh-Taylor instability.
This image results from pouring acrylic paint, pouring medium (PVA + Water in a 2:3 ratio) and spray silicone from a height of around 30cms onto a gessoed canvas. The colours used were Titanium white, white pearl, mars black and blue/black. White acrylic paint mixed with pouring medium and silicones poured along the bottom edge of the canvas and lightly dragged across the surface of the paint with a palette knife. Layering of the paint seemed to encourage the formation of cell like patterns which were also encouraged by the use of a blow torch lightly over the surface of the paint. As the paint dried the silicone rose to the surface and could be wiped away. This could make a great acrylic ground for subsequent oil glazing?
This image was achieved using the same materials but using a ‘dirty pour method’. Colour was poured from a height into a plastic cup, small amounts of each one after another. When the cup was full a sheet of cartridge paper was placed over the top and the whole assembly flipped and the cup lifted vertical away from the surface of the paper. The flow of paint was managed using paint stirrers. Although an accidental method, it is possible to manage the image to some extent with broad stroke drawing and the use of swiping with a palette knife to move colour around and a blow torch to encourage cell formation. The support buckled when drying so cartridge paper is not to be recommended.
Employing the same materials and method of paint mixing the second dirty pour investigated marks possible with the cup in contact with the paper. The cup was dragged across the surface before lifting away and an area of the drag marks was masked with a second cup whilst the pain flowed around it. I like the aded depth this technique offers. Unfortunately the blow torch set the paper on fire – another reason why cartridge paper is not a great idea!
This pour explored how far paint can be mixed together before it stabilises. This dirty pour was made by scooping overflow paint from the surface protector on the work surface . The cells are finer but there is still a large amount of patterning albeit far more subtle than in the previous pours.
If I could find a dissolvable support which would still allow a liquid pour this image demonstrates the potential for making shaped/controlled acrylic skins for assemblage. The paint flowed around two cups left in place until the paint dried and then removed.