'The life of colour' is the main factor in my work. Rather than mixing colours on the palette, I build-up layers of translucent colour. I need to keep the colours pure. Dots of different colours are placed so that the eye creates the colour. I blend, contrast and compliment, and superimpose colours, and work through subtle transitions in layered glazes to provide light and depth. Light is reflected within the painting rather than on the surface, leading to greater depth. The depth is both visual and emotional.
I like the versatility of acrylic paint and work on various sizes of canvas, from 26 X 26 cm., 40 X 40 cm., and 80 X80 cm. The square fprmat is the only compositional device I use, and take great care in painting the open edges of the canvas in a colour that is fundamental to the image. I know the title, and can see the scene, before I start painting. I then only have to define it and describe it, through colour, light, space, and form. At the start of a painting I establish the light and darker areas, and through a series of glazes build up the tones, and bring out points of light, or let the light radiate through.
www. rachael wilmot. co. uk 2016
The paintings are a resonance from the heart. Looking at them, you respond with your heart, and a deeper connection is made between yourself and the 'landscape'. My painting process is the result of an insight or awareness, that I take time to build visually in strength and depth. Energy Paintings are the process itself, stimulating your vision, heart, and your awareness. This is the landscape of awareness.
Movement is implied in all my paintings and is carried through flowing forms. Movement encourages involvement and feeling. The colour and gestural brushstrokes suggest vitality, and while my paintings may look spontaneous and 'free flowing', the use of detail and the manipulation of colour is meticulous and precise. Each dot, mark, and colour, must be in exactly the right place.
Scale plays a very important part in the paintings. Looking at an image that has no context in figurative reality, there is an attempt to make sense of it, to see it as a scene, or put a scale to it. Unlike compositionally structured painting, here there is no one centre of attention, and so the viewer is left to discover what they can, and in that process become engaged with colour and form. What is notable in all these Energy Paintings is that they continue to 'expand' or unfold as you look at them, and when you next see them. They change each time you look at them !