A bit about technique
It's interesting what happens while someone paints the type of paintings I do. Well, I guess I should say "what happens to ME" because...
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DLGRANT FINE ART
Showcasing the Abstract art of Darryl L. Grant
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Study Seed of Memories #2
Acrylic on canvas
16"x20"x0.75"
Harkening back to my faux finishing roots, the seed of form and color and texture germinated into a love for this form of expression. The shapes and colors have the potential to bring you, the viewer, into a story only you can tell as it sparks memories of scenes past.
Here the liquid paint is troweled on with a knife. Then after drying, just a little extra was troweled on again adding texture and focal areas.
16"x20"x0.75"
Harkening back to my faux finishing roots, the seed of form and color and texture germinated into a love for this form of expression. The shapes and colors have the potential to bring you, the viewer, into a story only you can tell as it sparks memories of scenes past.
Here the liquid paint is troweled on with a knife. Then after drying, just a little extra was troweled on again adding texture and focal areas.
Study Seed of Memories #1
Acrylic on canvas
16"x20"x0.75"
Harkening back to my faux finishing roots, the seed of form and color and texture germinated into a love for this form of expression. The shapes and colors have the potential to bring you, the viewer, into a story only you can tell as it sparks memories of scenes past.
Here the liquid paint is troweled on wet on wet with a knife. Then after drying, just a little extra was dripped adding counter points and focal areas.
16"x20"x0.75"
Harkening back to my faux finishing roots, the seed of form and color and texture germinated into a love for this form of expression. The shapes and colors have the potential to bring you, the viewer, into a story only you can tell as it sparks memories of scenes past.
Here the liquid paint is troweled on wet on wet with a knife. Then after drying, just a little extra was dripped adding counter points and focal areas.
Study Petroglyphs #1 Dangerous Hunt (600x800).jpg
Acrylic on canvas
16"x20"x1.5"
A smaller scale version of my ‘Ancient’ series inspired by discovered cave paintings or petroglyphs and petrograms. Of course my colors are not true to life as blues and certain reds in my piece were not used or available to the artists who created the paintings. The history of color is fascinating but these type of paintings give me an earthy feel I enjoy.
16"x20"x1.5"
A smaller scale version of my ‘Ancient’ series inspired by discovered cave paintings or petroglyphs and petrograms. Of course my colors are not true to life as blues and certain reds in my piece were not used or available to the artists who created the paintings. The history of color is fascinating but these type of paintings give me an earthy feel I enjoy.
Study Metallic Drip #3
Acrylic on canvas
16"x20"x0.75"
Study of drip method abstract painting using vibrant metallic paints. During my days as a faux finisher, I loved the gorgeous deep colors that bronze and copper metals brought to a ceiling or wall and the light-play that occurred over it's surface. Here I've used those rich colors as a backdrop for the vivid hues of blue metallics. The rich background pulls in your view with deep warmth while the blues sparkle a staccato note of counterpoint coolness and electricity.
16"x20"x0.75"
Study of drip method abstract painting using vibrant metallic paints. During my days as a faux finisher, I loved the gorgeous deep colors that bronze and copper metals brought to a ceiling or wall and the light-play that occurred over it's surface. Here I've used those rich colors as a backdrop for the vivid hues of blue metallics. The rich background pulls in your view with deep warmth while the blues sparkle a staccato note of counterpoint coolness and electricity.
Study Metallic drip #2
Acrylic on canvas
16"x20"x0.75"
Study of drip method abstract painting using vibrant metallic paints. This series was a study in response to my personal feelings that a 'proper' painting shouldn't be using metallic paint. The general assumption was that it would cheapen the look or bring it's artistic value down to the 'plastic' or 'gimicky' genre.
I happily stand corrected. This series boasts a delightful mix of metallic colors that play not only with each other but with the light as well as it glints off the raised curved surfaces of drips and strings of paint.
16"x20"x0.75"
Study of drip method abstract painting using vibrant metallic paints. This series was a study in response to my personal feelings that a 'proper' painting shouldn't be using metallic paint. The general assumption was that it would cheapen the look or bring it's artistic value down to the 'plastic' or 'gimicky' genre.
I happily stand corrected. This series boasts a delightful mix of metallic colors that play not only with each other but with the light as well as it glints off the raised curved surfaces of drips and strings of paint.
Study Metallic drip #1
Acrylic on canvas
16"x20"x0.75"
Study of drip method abstract painting using vibrant metallic paints. This series was a study in response to my personal feelings that a 'proper' painting shouldn't be using metalic paint. The general assumption was that it would cheapen the look or bring it's artistic value down to the 'plastic' or 'gimicky' genre.
I happily stand corrected. This series boasts a delightful mix of metallic colors that play not only with each other but with the light as well as it glints off the raised curved surfaces of drips and strings of paint.
16"x20"x0.75"
Study of drip method abstract painting using vibrant metallic paints. This series was a study in response to my personal feelings that a 'proper' painting shouldn't be using metalic paint. The general assumption was that it would cheapen the look or bring it's artistic value down to the 'plastic' or 'gimicky' genre.
I happily stand corrected. This series boasts a delightful mix of metallic colors that play not only with each other but with the light as well as it glints off the raised curved surfaces of drips and strings of paint.
Study Flowers Drip #1 Alpine Meadow
Acrylic on canvas
16"x20"x0.75"
This series explores the depiction of fields of flowers by using various drip techniques. I find the random and scattered effect created by the technique mimics the scattered look of natural flower fields. This slowly builds a calming, comfortable feel as the viewer's eye explores the scene.
16"x20"x0.75"
This series explores the depiction of fields of flowers by using various drip techniques. I find the random and scattered effect created by the technique mimics the scattered look of natural flower fields. This slowly builds a calming, comfortable feel as the viewer's eye explores the scene.
Study Drip Unified Direction #1
Acrylic on canvas
16"x20"x0.75"
Study of singular direction dripping. Usually my dripping and splashes revel in chaos and disunified patterns. Here I wanted to study just the opposite, creating a field of strings and splashes in what I describe as sympathetic with each other. I get a strong sense of nature in this method. There is a unified direction but it's not perfectly parallel much like fields of tall grass.
16"x20"x0.75"
Study of singular direction dripping. Usually my dripping and splashes revel in chaos and disunified patterns. Here I wanted to study just the opposite, creating a field of strings and splashes in what I describe as sympathetic with each other. I get a strong sense of nature in this method. There is a unified direction but it's not perfectly parallel much like fields of tall grass.
Study Color Theory #3
Acrylic on canvas
28"x14"x1.5"
This series is a study of color theory using only red, yellow and blue. This piece also used a wet on wet technique allowing the three colors to physically mix slightly, creating new color as dictated by color theory. I again added a drip technique over top.
28"x14"x1.5"
This series is a study of color theory using only red, yellow and blue. This piece also used a wet on wet technique allowing the three colors to physically mix slightly, creating new color as dictated by color theory. I again added a drip technique over top.
Study Color Theory #2
Acrylic on canvas
28"x14"x1.5"
This series is a study of color theory using only red, yellow and blue. This one also used a wet on wet technique allowing the three colors to physically mix and create new colors. Additionally I dampened the canvas just a little to cause a stronger paint dispersion. And of course I added a fairly bold drip technique over top.
28"x14"x1.5"
This series is a study of color theory using only red, yellow and blue. This one also used a wet on wet technique allowing the three colors to physically mix and create new colors. Additionally I dampened the canvas just a little to cause a stronger paint dispersion. And of course I added a fairly bold drip technique over top.
Study Color Theory #1
Acrylic on canvas,
28"x14"x1.5"
This series is a study of color theory using only red, yellow and blue. This particular one used a wet on wet technique allowing the three colors to physically mix slightly, creating new color as dictated by color theory. Of course, as I often do, I added a drip technique over top.
28"x14"x1.5"
This series is a study of color theory using only red, yellow and blue. This particular one used a wet on wet technique allowing the three colors to physically mix slightly, creating new color as dictated by color theory. Of course, as I often do, I added a drip technique over top.
Study Color Fields #4
Acrylic on canvas
16"x20"x0.75"
Study of color fields and color theory. This is a set of 3. As you can see I don’t like clean lines. I had a hard time not doing a drip over the whole thing. The color relationships are purposefully placed. For example the blue on a field of orange. A complimentary hue (orange) surrounding it’s primary ( blue) will make the primary look more vibrant. The rest I’ll leave for you to find. In a departure from signing the front of my work, this set is signed on the back so each painting can be hung in any orientation.
16"x20"x0.75"
Study of color fields and color theory. This is a set of 3. As you can see I don’t like clean lines. I had a hard time not doing a drip over the whole thing. The color relationships are purposefully placed. For example the blue on a field of orange. A complimentary hue (orange) surrounding it’s primary ( blue) will make the primary look more vibrant. The rest I’ll leave for you to find. In a departure from signing the front of my work, this set is signed on the back so each painting can be hung in any orientation.
Study Color Fields #3
Acrylic on canvas
16"x20"x0.75"
Study of color fields and color theory. This is a set of 3. As you can see I don’t like clean lines. I had a hard time not doing a drip over the whole thing. The color relationships are purposefully placed. For example the blue on a field of orange. A complimentary hue (orange) surrounding it’s primary ( blue) will make the primary look more vibrant. The rest I’ll leave for you to find. In a departure from signing the front of my work, this set is signed on the back so each painting can be hung in any orientation.
16"x20"x0.75"
Study of color fields and color theory. This is a set of 3. As you can see I don’t like clean lines. I had a hard time not doing a drip over the whole thing. The color relationships are purposefully placed. For example the blue on a field of orange. A complimentary hue (orange) surrounding it’s primary ( blue) will make the primary look more vibrant. The rest I’ll leave for you to find. In a departure from signing the front of my work, this set is signed on the back so each painting can be hung in any orientation.
Study Color Fields #2
Acrylic on canvas
16"x20"x0.75"
Study of color fields and color theory. This is a set of 3. As you can see I don’t like clean lines. I had a hard time not doing a drip over the whole thing. The color relationships are purposefully placed. For example the blue on a field of orange. A complimentary hue (orange) surrounding it’s primary ( blue) will make the primary look more vibrant. The rest I’ll leave for you to find. In a departure from signing the front of my work, this set is signed on the back so each painting can be hung in any orientation.
16"x20"x0.75"
Study of color fields and color theory. This is a set of 3. As you can see I don’t like clean lines. I had a hard time not doing a drip over the whole thing. The color relationships are purposefully placed. For example the blue on a field of orange. A complimentary hue (orange) surrounding it’s primary ( blue) will make the primary look more vibrant. The rest I’ll leave for you to find. In a departure from signing the front of my work, this set is signed on the back so each painting can be hung in any orientation.
Study Color Fields #1 Metallic Ocean
Acrylic on canvas
16"x20"x0.75"
Study of color fields in parallel using metallic paints while at the same time deviating from the color field's common usage of pure abstract art. This work created a simplified expressionist scene of an ocean shore.
16"x20"x0.75"
Study of color fields in parallel using metallic paints while at the same time deviating from the color field's common usage of pure abstract art. This work created a simplified expressionist scene of an ocean shore.
Familiar Series #1:
By Any Other Name
Acrylic on canvas, 30"x40".
Musing upon what happens when someone looks too closely at a painting and sees only dabs of paint, this piece came into existence. Where is the optimal viewing distance to take in a work of art? Get too close to the canvas and you see only the building blocks of the work but not the work itself. Pull back the right amount and you see it's full splendor. But what happens if you hover between those two points where the image is not fully discernable? You see it there vaguely, you disover what it is, but your mind has to fill in the details. In a sense, you are painting the piece with me and interacting with it. I find that really satisfying.
Musing upon what happens when someone looks too closely at a painting and sees only dabs of paint, this piece came into existence. Where is the optimal viewing distance to take in a work of art? Get too close to the canvas and you see only the building blocks of the work but not the work itself. Pull back the right amount and you see it's full splendor. But what happens if you hover between those two points where the image is not fully discernable? You see it there vaguely, you disover what it is, but your mind has to fill in the details. In a sense, you are painting the piece with me and interacting with it. I find that really satisfying.
Familiar Series #2:
Solace
Acrylic on canvas, 30"x40".
Feel the warmth, smell the loam. Solace from the forest.
For myself, I have always found it deeply soothing to walk among a forest of trees. There is something healing to the soul when listening to a breeze run it's fingers through the leaves. Smelling the loam of the forest floor warmed by the beams of sunlight filtered through the canopy. Observing like a theater goer as dust motes lazily dance through the rays. The light is comforting as it glows golden yellow tinted by the green of the leaves beckoning with a sirens call while tiny bits of blue curiously peak down from above. Even now my senses smell and feel and hear and remember. That is what my art is all about, what this piece is all about. I am drawn to such memories, experiences. My art tries to draw them up to sooth the viewer with wonderful memories.
Feel the warmth, smell the loam. Solace from the forest.
For myself, I have always found it deeply soothing to walk among a forest of trees. There is something healing to the soul when listening to a breeze run it's fingers through the leaves. Smelling the loam of the forest floor warmed by the beams of sunlight filtered through the canopy. Observing like a theater goer as dust motes lazily dance through the rays. The light is comforting as it glows golden yellow tinted by the green of the leaves beckoning with a sirens call while tiny bits of blue curiously peak down from above. Even now my senses smell and feel and hear and remember. That is what my art is all about, what this piece is all about. I am drawn to such memories, experiences. My art tries to draw them up to sooth the viewer with wonderful memories.
Foci
Acrylic on canvas, 30"x40".
What story do you see?
Using my String Theory #1 method of long uninterrupted lines of color, I experimented on the shape or path each color took. In so doing, the focus of the eye moves from one pattern of line to the next, observing the differences. There are multiple areas that draw the eye, thus the title. Yet the lines are but one of the points of focus. The colors of course are another as they are somewhat more isolated from each other than my previous works. The sheen of the individual paint colors are again another point of focus, depending upon the lighting used to illuminate the painting. That is also why this painting isn't varnished as it would destroy the individual sheen differences between some of the colors. Experiments aside, what I find most interesting with this piece is that each viewer will see something wildly different in it. That is one of the appealing things about abstract painting. So, tell me; what story do you see in this piece?
What story do you see?
Using my String Theory #1 method of long uninterrupted lines of color, I experimented on the shape or path each color took. In so doing, the focus of the eye moves from one pattern of line to the next, observing the differences. There are multiple areas that draw the eye, thus the title. Yet the lines are but one of the points of focus. The colors of course are another as they are somewhat more isolated from each other than my previous works. The sheen of the individual paint colors are again another point of focus, depending upon the lighting used to illuminate the painting. That is also why this painting isn't varnished as it would destroy the individual sheen differences between some of the colors. Experiments aside, what I find most interesting with this piece is that each viewer will see something wildly different in it. That is one of the appealing things about abstract painting. So, tell me; what story do you see in this piece?
Ancient Series#1: Hunt
Acrylic on canvas, 30"x40".
First of the 'Ancient' series. The tribe must eat.
One snapshot of a tale to be told. This painting is dear to my heart because telling stories is what I've done all my life. I once used words but now I employ the movements of the brush that evoke in the 'reader' what so many words cannot. Inspired by discovered cave paintings I wanted to create a snapshot of simplified, maybe even stylized ancient life. It's all about the story and the emotional 'texture' of the scene. Here we see a most dangerous hunt in progress.
First of the 'Ancient' series. The tribe must eat.
One snapshot of a tale to be told. This painting is dear to my heart because telling stories is what I've done all my life. I once used words but now I employ the movements of the brush that evoke in the 'reader' what so many words cannot. Inspired by discovered cave paintings I wanted to create a snapshot of simplified, maybe even stylized ancient life. It's all about the story and the emotional 'texture' of the scene. Here we see a most dangerous hunt in progress.
Ancient Series #2: Gather
Acrylic on canvas, 30"x40".
Not everything tries to kill you. Earth can give if you know how.
I want to tell a story with paint. I love doing series which say something, that - if complete - builds a scene that stimulates the imagination. Each in the series is a snapshot and together they tell the tale. Many ancient civilizations were very much hunter gatherers, their power, safety, prosperity hanging upon what the land would give them. They lived within the ebb and flow of the seasons and the weather it brought. To me, there is an emotional ‘texture’ to that lifestyle that I try to convey in this work. Here the harvest is being gathered. Will it be enough?
Not everything tries to kill you. Earth can give if you know how.
I want to tell a story with paint. I love doing series which say something, that - if complete - builds a scene that stimulates the imagination. Each in the series is a snapshot and together they tell the tale. Many ancient civilizations were very much hunter gatherers, their power, safety, prosperity hanging upon what the land would give them. They lived within the ebb and flow of the seasons and the weather it brought. To me, there is an emotional ‘texture’ to that lifestyle that I try to convey in this work. Here the harvest is being gathered. Will it be enough?
Despair Parallel
Rough irregular texture and acrylic on plastic board, 30" x 40" x 0.75"
Fear, uncertainty and no safety net. A leap must be taken, driven by what? Sometimes by sheer, unadulterated despair.
First steps. Blind leaps. Flick the switch. Turn the knob and open the door. Step off the ledge and into the black chasm. We all have to make those unknown forays in life. It can be driven by all manner of impetus; fear, desperation, anger, love, happiness, duty, heroic grand sentiment... or dire despair.
The description above recounts my emotions as I forayed out into the world of art for the first time. Exposing myself to the world and driven by utter despair as a middle aged man trying to change his vocation, means of sustenance; the resume of one's life.
Fear, uncertainty and no safety net. A leap must be taken, driven by what? Sometimes by sheer, unadulterated despair.
First steps. Blind leaps. Flick the switch. Turn the knob and open the door. Step off the ledge and into the black chasm. We all have to make those unknown forays in life. It can be driven by all manner of impetus; fear, desperation, anger, love, happiness, duty, heroic grand sentiment... or dire despair.
The description above recounts my emotions as I forayed out into the world of art for the first time. Exposing myself to the world and driven by utter despair as a middle aged man trying to change his vocation, means of sustenance; the resume of one's life.
Number 11
Acrylic on canvas, 30"x40".
Awarded honorable mention in Art Room Contemporary Online Gallery's “Grey” exhibition.
The love of textured art. The struggle to find the perfect tint or shade. The joy of the 'outlier'. Then, the realization. Let nature do the work. Let the surrounding light create the tints and shades that changes at each instant of time.
Awarded honorable mention in Art Room Contemporary Online Gallery's “Grey” exhibition.
The love of textured art. The struggle to find the perfect tint or shade. The joy of the 'outlier'. Then, the realization. Let nature do the work. Let the surrounding light create the tints and shades that changes at each instant of time.
Drip Series#1: Joy Plus Act Equals
Acrylic on canvas, 30"x40".
Celebration and joy, streamers and party poppers. There's always something to be joyful for.
This was my 4th published painting and first foray into dripping and splashing. You remember as a kid how fun it was to splash around in a pool or lake? Well, it's even more fun to throw paint at the canvas... everyone should try it! This is to celebrate art itself and the life and breath it imbues in each artist, patron and viewer. I feel good!
Celebration and joy, streamers and party poppers. There's always something to be joyful for.
This was my 4th published painting and first foray into dripping and splashing. You remember as a kid how fun it was to splash around in a pool or lake? Well, it's even more fun to throw paint at the canvas... everyone should try it! This is to celebrate art itself and the life and breath it imbues in each artist, patron and viewer. I feel good!
Drip Series #2: Kelp Forest
Acrylic on canvas, 30"x40".
The smell of the ocean. Sounds of gulls and the lapping of waves. And below the surface, the kelp forest swaying in the 'wind' of the watery world's ebb and flow.
This was my 5th piece. Visiting the ocean is like going home. It's smells and sounds, taste and feel is in my blood, yet I lived on Vancouver Island for only a year. That was all it took to steal my heart. Now, in the prairies I just have those tantalizing memories of the smells and sanctuary of the coast.
The smell of the ocean. Sounds of gulls and the lapping of waves. And below the surface, the kelp forest swaying in the 'wind' of the watery world's ebb and flow.
This was my 5th piece. Visiting the ocean is like going home. It's smells and sounds, taste and feel is in my blood, yet I lived on Vancouver Island for only a year. That was all it took to steal my heart. Now, in the prairies I just have those tantalizing memories of the smells and sanctuary of the coast.
OM#1 Gold on Black
Acrylic on canvas, 30"x40"
The OM series or Ostensibly Minimal just happens for me. I'm hellbent on creating something with LOTS of whatever, but like OM#1 the visuals hit my eye and the painting says it's completed, don't add anything more. I wanted to add much more but I just couldn't. As you can see, I'm not fully in control of my own art.
The OM series or Ostensibly Minimal just happens for me. I'm hellbent on creating something with LOTS of whatever, but like OM#1 the visuals hit my eye and the painting says it's completed, don't add anything more. I wanted to add much more but I just couldn't. As you can see, I'm not fully in control of my own art.
Musings
You go on vacation and look what happens!
Well, my wife and I spent a couple weeks in Hawaii soaking up the sun and enjoying the works of the grandest artist of all, our Creator. ...
The depth of oil 2
There's the final base coat. I think on it's own it evokes depth and turmoil. It has lots of movement and mood. I like it. But that's...
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