The Evolution of a Painting Series
The COLORSCAPE series of large canvases dates back to 2003 when I was commissioned to create two large custom paintings for a client.
Commissioned work often leads me to explore novel and stimulating avenues driven by the client's requirements or preferences.
Typically, I begin the custom painting process by referencing previous works. In this particular case, the client sought something similar to my past work, and they were particularly drawn to my unique use of textures and colors.
They also admired drip paintings they had seen in a gallery and expressed a desire for their inclusion. Abstract landscapes also appealed to them. Thus, the challenge emerged: merging textures, dripped paint, and abstract landscape elements into a horizontal composition, all in their preferred color palette.
SHIRLEY WILLIAMS Testing Paint Consistency
To execute this, I delved into research and testing to determine the optimal consistency for dripping paint without compromising pigment quality.
Diluting acrylic pigment excessively can degrade its archival integrity, resulting in fading and flaking over time—an outcome I was keen to avoid.
Both the client and I were delighted with the final pieces. The process and outcomes were exciting, sparking a continued exploration of this newfound approach, eventually giving rise to an entire series.
What captivated me wasn't solely the process but also the underlying concept. For years, I've been fascinated by how certain color combinations not only capture the essence of a place but also evoke distinct emotions.
In each painting within the ‘Colorscape’ series, I chose a specific color chord similar to musical tones, which subconsciously elicit particular effects. By melding my color choices with tactile textures and rhythmic, dripped and painted lines, I heightened the sensation of internal energy.
The COLORSCAPE series garnered acclaim from galleries and collectors alike, featuring prominently in solo exhibitions in Toronto, Detroit, Dallas, and Naples, Florida. Additionally, they made appearances in various group shows.
During this period, I was also privileged to undertake other significant commissions. Notably, a standout project involved collaborating with Maestro John Morris Russell, then-conductor of the Windsor Symphony Orchestra. Serving as Artist in Residence for a year, I was tasked with creating a large painting, titled COLORSCAPE SYMPHONY.
SYMPHONY COLLABORATION
This painting became a focal point of WSO promotional materials throughout the year. COLORSCAPE SYMPHONY was auctioned off at the Windsor Symphony Gala, with proceeds benefiting the Children's Orchestra.
A few prominent collectors of the COLORSCAPE painting series include the Zekelman family, University of Windsor, Odette Foundation, WFCU Credit Union, Toldo family, A & W Food Service Corp and Ste. Cecile Library. In addition many of these paintings still grace the lobbies and reception areas of numerous medical and professional offices, not to mention countless private homes.
In 2009, James Patten, the then curator of our regional museum, Art Gallery of Windsor, came for a studio visit. After looking at my work and commenting how much he liked them, he threw down a challenge. He offered me a solo museum show in two years time if I agreed to push my concept further.
Of course I excitedly agreed. And thus began my next series FORCES OF NATURE.
