2: Abstraction Random abstract

Clyfford Still experiments

!!for further exploration and development
lifelines and energy fields.

Life and death merging in fearful union

If you look at my paintings with unfettered eyes, you may find forces in yourself you did not know existed

Experiments so far – flashes and cracks of vertical colour like fate striking out of the blue. It would be very interesting to revisit some of my other abstracts that lack impact eg Project 2.1 Formal Abstracts  and some of my life abstracts and develop them further using mark-making and colour contrasts that express the energy and turmoil of Clyfford Still’s paintings.

Issues for my printmaking:

  • Importance of verticality
  • Use of palette knife
  • Monoprint: contrast between thick impasto textured areas and thin ‘lifeline’ streaks. Can use different ink.
  • Collagraph: can use large shapes that are heavily textured, with small delicate rivulets of colour in between
  • Linocut: again can texture the linocut and overprint with similar colours to create depth over thin incised lines


‘Energies, forces, feelings all those things that are embodied with being alive’
interest in vertical and horizontal and what is means to being in the world. ‘verticality expresses a sort of life force. When we are alive we move through the world vertically, when we die we become horizontal. Things grow vertically, when they die they fall over.’

Techniques: interest in gesture. most distinctive feature is use of palette knife. roughness and skins contrast with delicate ‘lifelines’. Paintings take weeks or months of construction.

Museum in Denver Colorado


Anfam, D. (ed.) (2017) Abstract Expressionism, London: Royal Academy of the Arts.