Spotlight Sunday [Liz]

This weeks Spotlight Sunday will be covering the painting known as Liz. This particular painting was created in March 2016 and was one of the first paintings on perspex that transitioned from acetate.

Perspex feels completely different to acetate and the ink dries with the colour remaining vivid and strong. The other positive was it allowed the material to be rigid and didn’t bend like acetate did meaning the ink wouldn’t crack and crumble away once dry. Liz quickly became one of my favourites from the set of paintings I had made at the time and that is why I added it to the choice on the Twitter poll this week for Spotlight Sunday.

Liz [A3 Drawing inks on Perspex]
When I was young I used to be awful at drawing hands. When I moved over to Sixth Form I remember practising to get better which was successful. I drew realistic images of people with hands in all sorts of positions. When I started painting monsters I didn’t carry over that style.

Hands are incredibly expressive tools and I personally use them a lot when trying to explain something. I find it easier to talk and relay information when moving my hands around in various motions. Those movements became part of my communication skills with people.From experience my mental health can make reading people cloudy. The hand movements become confusing and sometimes even uncomfortable. This probably links to my ASD but this feeling of confusion often links to my inability to read peoples gestures.

That is why my anxiety monsters often have hands but are abstract. Its recognisable as a body part but it is difficult to identity it. Liz has hands attached to her body. They look like hands but they also look wrong but the form isn’t structured to be realistic and that is done with a purpose.

I painted Liz with these thoughts in mind as I had been through some face to face interviews at the time and I remember becoming tense and using my hands a lot to explain my ideas. When it came to reading the interviewer it became hard to follow their hand gestures and their facial expressions. This sensation is not something that happens to me often but when it does I become very aware of it. Liz was a way of me thinking it through and building on ways to help me get through future situations.


Liz was painted with a colour palette I don’t use very often.Mixing the red and pink tones with blue can be problematic with murky colours which is why I avoid it. Liz was an exception and the colours mixed really well together. The other unusual thing was I used two accent colours in the turquoise at the top and the yellow at the bottom.

I used a C shape for the form of the body and built up other shapes coming from it to make the features. Liz became a big jumble of hands and faces which makes it one the more unusual and abstract of my paintings.


I usually create multiple paintings at the same time and they end up influencing one another during the creation. The red painting might splash its ink onto the painting beside it and this relationship is one that I now seek to continue in my work. As I have said before that my process is organic and several things can affect the paintings finish. These affects can range from the climate to the time it takes for the inks to dry. They all influence the paintings in some way.

Liz was a painting that stood out to me for her subject matter and her appearance. She has received positive feedback and like a lot of my work I have made this year it has shaped and develop my techniques.


Prints of Liz are available in two sizes and finishes now on the Messy Miscreation store.

First is a limited edition of 20 prints on A4 Fine Art paper that will be signed and numbered on the bottom right of the front. Available here:

Secondly Liz is also available in Diddy Print A5 on 250gsm paper with a beautiful glossy finish. Signed on the reverse side and not numbered:



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