Visual Language Magazine Contemporary Fine Art Vol 4 No 1

VL
Sallie-Anne Swift
I am ready and I start applying my combination of mixtures
onto the surface of the acrylic, I’m pretty much
guessing where I think everything should go, I know
the look I want to achieve but I am so nervous, I cannot
afford to mess up this piece of acrylic, it cost so much!
I am able to walk right around the acrylic laying flat on
the floor and this helped me get the perspective right.
I can’t work fast enough, my mixtures where getting
thick and tacky but I am almost done. I am not sure if
there is enough paint on this piece and I am concerned
my brush strokes are not big enough for this size canvas.
I remember standing back and thinking I wish I
had an old broom to use for a brush. But as it turns out I
needn’t have worried, I turned on the ceiling fan above
it, made sure all the doors where closed (as it must be
in a dust free environment) and walked out the door
leaving it to dry.
I don’t think I slept much that night. I had to wait 24
hours before it would be dry to the touch and dry
enough to move; it seemed a very long 24 hours. Finally
it was dry enough to move and with the help of my
willing husband we managed to move it in front of the
canvas that it would sit above, and against the wall it
would hang on. I was thrilled when I saw the two pieces
together, it was even better than I had imagined.
I stayed up late that night putting it together with the
stainless steel standoffs, all 22 of them. Again I had
to be extremely accurate where I drilled my holes to
accommodate the standoffs, they had to line up exactly
and there was no room for error.
Working on the Acrylic
http://sallieswiftart.com/
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