
Here is an acrylic painting on plexiglas with the working side being the back surface. Which of course means that the artist is always working in reverse, and had better have a mirror close at hand for a constant check on the best possible balance and placement of all visual components.
The front surface has no layer of paint. One aspect that attracted me to working in this peculiar way, and with this particular medium, is that colours are not diminished in intensity as they dry, instead they retain that wet-paint-in-the-can look, and the glossy viewing surface adds its own lush brilliance; a disadvantage of the medium is that plexi is physically heavy—compared with stretched canvas—and working a surface area of more than six square feet, while trying simultaneously to protect the viewing side from the least abrasion, becomes increasingly awkward. However, the gem-like dazzle gained is worth the smaller size, and in this instance the image manages to suggest one of huge scale anyway.
