As the largest painting I have ever created, Serendipity is beyond dramatic. With the inclusion of more types of naturally sourced pigment than any other of my works, this large original has an incredible energy and soul. At its heart is a vast amount of texture created by using soil taken from the root ball of a freshly fallen oak tree, (predicted to be hundreds of years old.) The intense blacks that draw you further into the piece are charcoals taken from wild fire pits, whereas the browns and dense patches are thanks to Mountain earth, taken from the Munro Ben Lawers, as well as Welsh peaks Glyder Fawr and Y Garn - weather worn soil from over 3000ft, and English Peaks Catstycam and Helvellyn.
Adding sections of ochre is the Pen Y Fan river red clay, which needs no help in producing it's stunning colour. Upon closer inspection, the sands from the Gower Peninsula are evident and are mixed with an incandescent paint to give it an incredible silvery sheen.
Flowing across the paint is roughly ground wood, taken from a fallen tree in a nearby ancient forest, alongside sage that I've personally used to smudge and clean the canvas with before use.
I have spent many hours sat in the presence of Serendipity, watching it's natural pigment separate and fall, flow and move across the canvas like a living creature. The life of the paint has me hypnotised. Each pigment is dried over weeks before being ground, sieved and eventually made into paint. This pigment has been mixed with rain water that I've melted from its icy state and that's sat outside in bowls under the moon for a month.
Finishing Serendipity is a dense vein of 22 carat gold.
(Though painted in Portrait orientation, this piece can be hung as landscape upon request! I simply string the frame lengthways)