Paint gloops, non guaranteed colour Integrity, unpainted white areas and other stuff that you should be aware of before buying my paintings…

Right!… here are some ‘ground rules’ for those thinking of purchasing. It may all sound a bit serious and officious but I need to point out these fundamentals. So, in no particular order of importance:

All canvasses seen on the site are subject to variation from the photos shown – eg the creative process is an ongoing one so, when the inspiration (or the Jack Daniels) takes me, I often add to, alter, or generally fiddle with, a canvass right up until the point that it leaves me. This is generally only and I will of course supply up to date photos prior to purchase.

All canvasses are ‘bought as seen’. Ideally come to the studio or relevant gallery and view them in the flesh or, if that’s not possible, I will arrange for up to date photos to be sent to you upon request.

All prices exclude VAT, packaging, crating and transport. This will be quoted separately.

The ‘canvasses’ (in other words, the fabric or substrate that I use as the base upon which I add the paint) are actually, in reality, a plasticky finish ‘canvass’. I’m not sure whether they are technically made of canvass at all. However I prefer to use these as they give a smoother texture upon which to paint.

I often leave large areas unpainted – the white areas on most of my paintings, for example. This is because I have found that the white of the ‘canvass’ is more vibrant in its unpainted state than it is when painted white (the latter often fading or turning a slightly creamy colour).

Frames are usually wood but some are also plastic, this is stated in the description in the relevant web page relating to the painting.

I use good quality acrylic paints, many of them flurescent. I can make no guarantees whatsoever about how these paints will last over time. All paints lose lustre and pigment in the fulness of time, particularly flurescents. So be aware that my paintings may fade or degrade.

This is original art and as such close inspection will reveal some of how its made. This means the ‘warts and all’ things like gloopy nodules of paint where two or three layers of paint are overlaid, or where the paint has been applied too thickly, or where an unfortunate fly or hair has landed at the wrong moment and got painted-in!

The paintings get dusty and marked in the studio. There is very little that I can do about this other than to take as much care as reasonably possible and to cover them in the protective sheets that I use. Cleaning can potentially create more damage than the original dust or imperfection, so please be prepared for some imperfections on your painting that are not readily visible from the photograph/s on the website. A painting studio is not an operating theatre and please believe me when I say that trying to compensate for this issue is a route to obsession and insanity!

If you can’t handle any of the above then don’t buy my work. Creating paintings is definitely not an exact science – it is actually more of an imperfect art. That said, it’s the imperfections that make it honest, real and organic. And at the very least you, or the casual viewer, will be able to see that it’s original and painted by human hand!

Paul T.