THERE YOU ARE

Artist – Sally A Barr

30 x 28 inches

2023

London, Uk

Mixed Media on canvas

London UK

This piece was created using acrylic paint, modelling paste, charcoal, invisible thread, silk beading cord, cracquellure medium and spray paint on canvas.

There You Are: About Us

THE INSPIRATION

A beautiful old bridge

I have absent-mindedly studied this bridge for a number of years. I have seen it change throughout the seasons, mostly the light. One winter however, almost the entire inside of the bridge, floor to ceiling was covered with dense false widow webs.

False widow spider webs

Fascinated with texture, I took a number of photographs from different angles to try and make sense of the patterns. I had to capture this on canvas.

Anonymous local graffiti

Continuing my walk I spotted this anonymous graffiti. The colour caught my eye first, then the odd drips with that one smudge, or did the paint collect there? continuing to make marks after the artist left. It looks like a stencil was used but too much paint. Oddly it doesn't seem to be pointing to anything in particular and nothing to identify the artist.

The spiky Taco Bell heart

I saw this heart just before I spotted the graffiti, the two combined and with some research into false widow webs a painting was forming in my head.

There You Are: Causes

THE PROCESS

Cracquellure medium was used here on the bricks. I then used the dry-brushing technique, building multiple layers and tones as a base colour to pull out the detail in the texture.

This is one of my favourite mediums to use. I often use crackle glaze but cracquellure breaks up the paint, into much more interesting clustered pieces.

I added modelling paste to the outside edges of the canvas in places. I wanted it to hug rather than overpower the painting.

A deep black base coat of acrylic paint and then it was ready for my little and sanding tool. This will be the under layer of the web.

There You Are: Causes

Once I was happy with the base of the web and bricks, I added more modelling paste. Using my finger I created the grooves as if mortar, around the brick edges.

Using acrylic paint I started to build up the depth by highlighting the area that would see the light. Then using a mars black wash, I painted in the areas that would be shadowed.

There You Are: About

before sectioning off an area diagonally, off centre for my contrast. I use high contrast in almost all my pieces. It provides the balance, the yin and yang. Plus after experiencing the wall, all seasons, all lights I wanted to capture various in my piece. Something that stood out for me walking under the bridge, the light from car headlights on the wall, how much it changed the mood.

I have been experimenting with light in my work, of late and wanted to see if I could create light/shade from 3 different sources. A face on light (natural/streetlight soft glow) then a contrast (ceiling of the bridge creating shadow) then to add a third direct beam. The flashlight beam was perfect.

I used masking tape to section off the part I wanted in shadow.

In this close up you can see the contrast after the washes were applied. Then finished with dry brushing to pull out the detail.

I added some colour in places, when lit from behind, these colours are more prominent on the finished piece.

Time or the 3rd light source. The flashlight beam, centred. I isolated the area with some paper and continued to deepen the contrast around it, with washes/dry brushing.

There You Are: Causes

TO BE CONTINUED

There You Are: Text

THERE YOU ARE

THE INSPIRATION

A beautiful old bridge

False widow spider webs

Anonymous local graffiti

The spiky Taco Bell heart

THE PROCESS

Cracquellure medium was used here on the bricks. I then used the dry-brushing technique, building multiple layers and tones as a base colour to pull out the detail in the texture.

This is one of my favourite mediums to use. I often use crackle glaze but cracquellure breaks up the paint, into much more interesting clustered pieces.

I added modelling paste to the outside edges of the canvas in places. I wanted it to hug rather than overpower the painting.

A deep black base coat of acrylic paint and then it was ready for my little and sanding tool. This will be the under layer of the web.

Once I was happy with the base of the web and bricks, I added more modelling paste. Using my finger I created the grooves as if mortar, around the brick edges.

​

Using acrylic paint I started to build up the depth by highlighting the area that would see the light. Then using a mars black wash, I painted in the areas that would be shadowed.

I used masking tape to section off the part I wanted in shadow.

In this close up you can see the contrast after the washes were applied. Then finished with dry brushing to pull out the detail.

I added some colour in places, when lit from behind, these colours are more prominent on the finished piece.

Time or the 3rd light source. The flashlight beam, centred. I isolated the area with some paper and continued to deepen the contrast around it, with washes/dry brushing.

​

TO BE CONTINUED