Abstracts in acrylic

“ I approach these larger works in acrylic as an enamellist. Having taught the subject and had the very finest tuition from, the foremost artist in this exacting medium the late Stefan Knapp. (1921-1996). My aims are to always perceive and produce a peaceful composition, while stretching the possibilities within the paint itself. The enjoyment of painting we had when we were children, while still holding hands confidently with modern media and thinking. This I believe to be a truly worthwhile visual communication. Musical themes are often integral to this interplay of complementary relationship’s. The aim is to seize that moment.  

William Neal

These essetially non figurative paintings have a favoured support of Canvas and also MDF.
Over 3 years working with my dear late friend Stefan Knapp taught me to realise the possibilities of painting on all manner of materials that surround us today. Canvas needs no introduction from me as such I use it with the utmost confidence. MDF on the other hand is by comparison a new consideration for the artist, and as such new to the collector of paintings. In line with my resolve to produce paintings that are sound regarding “longevity” This information I hope you will find as interesting as I have?

My MDF is treated and constructed to withstand all manner of essential requirements for soundness. Each board is primed on the reverse, exposed to water and painted in a similar way to the surface, eliminating any minor tendancy to “Warp”. To ensure its soundness the reverse is also battened with strips of 4” X  1” wide MDF all round, glued,clamped, and sanded on the edges, therefore the need for a frame is not essential. This painting surface is then dampened in a controlled manner to raise the “Multi Density Fibre”, for a suitable “Tooth” for the paint, dryed and given several coats of thin gesso. At present I have about 10 supports hand made by myself outside in the summer. Their size on the wall is 40”x 40” and 36” x 36”  The result is such a lovely fine surface that some have remarked “it’s is a shame to paint on it!”

The finished painting’s surface is of prime importance to me, no brush marks or any blemish to hinder the observours enjoyment of pure colour and subtle gradations.  Each colour or extraction is locked in a glaze medium. This glazing process can run into hundreds leaving a finish like marble or glass depending on the subject, hence my earlier referance to painting like an enamelist.