This non-objective painting explores the dynamic inter-relationship between shape, form, colour, pattern, and perception, to reveal the nature of the underlying form.

Like an idealised landscape, truncated concave and convex parabolic surfaces alternate in an undulating rectilinear arrangement is the basis of a of a 3-dimensional “structured” canvas.

The neutral simplicity of the geometrically balanced square modular surfaces, regulated by the grid format, fosters the exploration of the full gamut of visual dynamics that form, shape, and colour allow.

This painting uses the humble cross or plus graphic motif in an offset, nesting repetition over the physically undulating surfaces to the extremities of the painting’s boundary edges.

A dynamic visual tension is created in part from the proportional relationship between the scale of the rectilinear squared modules against the scale of the cross motif.

This dynamic is augmented by the finite palette taken from the autumnal Yorkshire moors, applied to the shape-shifting coloured cross motifs flowing over an idealised landscape.

Important to the execution of a hybrid painting, I chose to use Golden’s SoFlat Matte range of acrylic paints to create block areas of colour essentially free from reflections or brushstrokes.