sales commissions about David Copson artist's statement FAQ contact return to gallery index
The context for this work was conceived on a Vision Quest in the Inyo National Forest in the high desert of California. Inyo is a Paiute word for "where dwells the Great Spirit."
Our connection to the underlying consciousness of reality, manifestation of our physical and psychological world by our will or cosmic design, and the greater meaning we attach to what we see (it is only just paint on canvas, after all). More
To inquire about availability, pricing and terms, please contact me directly.
Different venues require different mark ups. I don't want to have a price posted here that undercuts what you may find in a gallery. They are certainly entitled to their piece of the action.
Yes, I accept commissions. To find out how that works, contact me personally.
In these paintings, mixed media includes: acrylic artist paint, household acrylic and latex paint, acrylic enamel, various spray paints, decorative finishes, and oil colors. Each is used for its own distinctive characteristics.
My glib response to this question that it has taken me over 30 years to be able to paint like this.
Really, there is no simple answer. Conceiving and executing a work is a multi-layered process of contemplation and technique. Often the inner work takes longer than the actual painting - but inspiration can also come in a flash. Some paintings are done very quickly (that would be a week or so). Some languish for years waiting for that final touch that brings it together. Sometimes what looks like a simple element can take hours of concentrated effort to get just right. And some complex backgrounds are laid down very quickly - but the drying time can be days.
My own preference is to leave the paintings unframed. The wooden stretchers for the canvas are hefty and give plenty of support. The canvas on the sides of the stretchers is either painted a flat color, is an extension of the image, or reveals interesting drips and patterns from the painting process which I chose to leave.
If you want a frame, I would recommend a plain white frame (which could be simply made from lattice molding) for a clean contemporary look. This is what I use when showing the work in a gallery that requires a frame.
Your painting will come wired for traditional hanging on picture hooks. This works ok. You will need two hooks for larger paintings. But even so, it is easy for the painting to be knocked out of level (and just as easily put back level, too) and harder to hang and remove, especially if the painting is large (or your arms are short).
A not-so-easy but better and secure way to hang a painting on typical drywall is to use plastic anchors and round headed 3 inch screws. Plan where you want the painting. From one side of the painting, mark the wall in approximately 1/5th of the width of the painting and down the thickness of the top stretcher bar. Use a level - or measure from the ceiling - to make a corresponding mark on the wall for the other side of the painting. Drill the holes with the appropriate size bit and push in the anchors. Put in the screws part way. The trick is to adjust the screws such that they protrude sufficiently to hook under the top stretcher bar and not so much as to push out the canvas on the front. Hung from these screws, your painting will stay level, be hard to accidentally knock off the wall, and yet be easy to hang and remove.
Many of the paintings are quite textured and will collect dust. Occasional vacuuming would be in order to maintain a vital appearance.
Once a year, do what I do, and take your painting outside and gently hose it off with a garden hose. It may sound extreme to you, but the painting can take it. I only use paints that dry insoluble in water.
If you have ever scrubbed your woodwork with household cleaners and noticed a bit of color on your sponge, you know these can harm paint. If you ever need something stronger than just water, gently use dishwashing liquid and thoroughly rinse it off.
