Nearly all my work starts with
drawing from the life model or
occasionally ancient Greek
sculptures. The work explores each
model’s kinaesthetic awareness
through spontaneous and undirected
movement. Each drawing session
thus becomes a minimalist theatre of
the imagination. The paintings are
developed from this material.
|The Pigments and Gold Leaf
The natural and mineral pigments I
use not only harmonise with pure
gold leaf, but also produce a very
different palette of colour and
luminosity compared to modern
synthetic pigments whether in oil,
fir balsam resins, tempera or
distemper binding mediums. The
pigments include lapis lazuli,
azurite, malachite, cinnabar,
orpiment, realgar, vivianite,
purpurite, red and green jaspers,
stibnite, pyrolusite, cerussite,
galena, calcite, quartz and Japanese
oyster-shell white (Gofun). Other
natural pigments include natural
indigo, the root madders, cochineal
red, and earth and ochre pigments. I
have published three papers on
mineral pigment preparation and
application since 2000.
|Rare cinnabar crystals broken out of a calcite matrix. Purchased Aug. 2010.
|Copyright © Michael Price Inc.
|Leïla, 28th Dec 2011, No. 1
|Leïla, 28th Dec 2011, No. 2
Making a Painting:
3 Months in 3 Minutes
The Timeless Nude
The aim of my exploration of the nude and human figure conceived within a timeless universe is to reveal that the archetypal
images carried within ourselves are just as real - or imaginary - as the physical world we inhabit. This tangible and finite world
provides the inspiration for the painting process.
The colour is produced from rocks and crystals including lapis lazuli, azurite and cinnabar, the natural and luminous colours of
the Renaissance palette. Since 2008, pure gold leaf provides the perfect complement for the chromatic values of natural
Through the poetry of Euclidean geometry, the structural foundation for a composition is established. This allows the message
carried within the image to attain its maximum impact and resonance to unveil the memory of our immortality reflected from
the mortal perspective.
|Study for "Melancholia I, Magnum opus"
natural red chalk and casein wash on paper
New 4 minute video interview
April 8th 2013 by cdsavoia.com
|The Geometry of Life, Double Helix No. 1
Gold leaf, natural and mineral pigments in casein distemper,
Strasbourg turpentine and oil on linen on panel
Diptych: 62 x 66 cm / 24.4 x 26 ins.
|Pen and Ink on Paper
|Improvisations: Small Works on Paper