Changing light - Tim Wilson
Tim's paintings are slowly, carefully and skilfully built up with many layers of interference pigments.
We are surrounded by screens and printed material. What many people don't realise is that these only offer a shallow experience of colour. Screens have only basic red green and blue light sources which vary in intensity to simulate different colours. Conventional printed material uses 4 colours of ink (cyan, magenta, yellow and black) in extremely thin layers to absorb selected wavelengths of light, allowing only some colours to reflect back to our eyes.
Neither of these technologies can provide anywhere near the complexity and subtlety of genuine artists pigmented oil paint, which contains physical substances that interact with incoming light in fascinating and unique ways. At a molecular level, the pigment itself interacts with light to absorb and reflect specific wavelengths. Oil paint also contains other transparent components which can be built up into deep physical layers.
As well as standard absorption and metallic pigments, Tim also uses interferences pigments which behave differently again. In these, light striking the surface is refracted, reflected and scattered by the layers that make up the pigment. Through a superimposition (or interference) of the reflected rays of light, a changing play of colour is created, with the most intense colour seen at the angle of reflection.The colors produced by interference are dependent on the angle of observation and illumination, and they will alternate with their complementary color as the angle changes. As a result, interference pigments are considered three-dimensional.
The effect is striking. Tim's skill and experience in handling all these factors results in paintings that are filled with life. As the light changes they transform, taking on and evoking different characters and moods.
We are surrounded by screens and printed material. What many people don't realise is that these only offer a shallow experience of colour. Screens have only basic red green and blue light sources which vary in intensity to simulate different colours. Conventional printed material uses 4 colours of ink (cyan, magenta, yellow and black) in extremely thin layers to absorb selected wavelengths of light, allowing only some colours to reflect back to our eyes.
Neither of these technologies can provide anywhere near the complexity and subtlety of genuine artists pigmented oil paint, which contains physical substances that interact with incoming light in fascinating and unique ways. At a molecular level, the pigment itself interacts with light to absorb and reflect specific wavelengths. Oil paint also contains other transparent components which can be built up into deep physical layers.
As well as standard absorption and metallic pigments, Tim also uses interferences pigments which behave differently again. In these, light striking the surface is refracted, reflected and scattered by the layers that make up the pigment. Through a superimposition (or interference) of the reflected rays of light, a changing play of colour is created, with the most intense colour seen at the angle of reflection.The colors produced by interference are dependent on the angle of observation and illumination, and they will alternate with their complementary color as the angle changes. As a result, interference pigments are considered three-dimensional.
The effect is striking. Tim's skill and experience in handling all these factors results in paintings that are filled with life. As the light changes they transform, taking on and evoking different characters and moods.