FOREWORD
Using sheet aluminium and now other metals as his base allows Kenton to illuminate his work as never before, to wield the ambient light in such a way that it becomes intrinsic to the finished piece. By allowing the metal to show through the layers of paint, the overall composition takes on a new dimension and gives a greater sense of depth and life within the scene. Viewed from different angles, the works reflect light sources in much the same way one might see sunlight bounce off the cosmopolitan subject matter he favours. Having found his preferred balance of brushes and flat- edged tools in applying the oil paint, Kenton then realised the underlying metal also has its own contribution to make. By manipulating the bare metal, he experimented with buffing exposed sections to create a textured grain that has the same directionality as the lines of the buildings or other focal points in the piece. Similarly, the viewer will note upon close inspection of the work, that his application of the oils varies perceptibly, depending on the desired effect; from heavily layered, to gently washed or the dripped technique that has become synonymous with his work, each method brings a different perspective to the image. The key to Kenton’s ongoing prominence within the UK art scene is his inexhaustible desire to elevate his output through continued experimentation. As such, Metallique represents the latest epoch in Kenton’s evolution, a stage at which he finds himself on the precipice of an artistic practice as exquisitely exciting as it is visually stunning.
In a mode akin to the mercurial properties of molten metal, the latest collection of original artworks by acclaimed contemporary artist Paul Kenton, Metallique , demonstrates a shift in both his style and medium of choice. Favouring the traditional support of canvas in his career to date, these latest pieces, painted onto sheet metal, are an exciting tangent to his already impressive portfolio. Necessity proved to be the mother of invention for Kenton, as he discovered the possibilities that painting onto metal presented him with whilst making himself a prototype easel to use when painting outdoors. His requirements were simply something weatherproof, robust and light; hence his choice of aluminium as a primary material. When a canvas didn’t fit onto the easel he had built, he reached for some of the leftover sheet aluminium and began applying oil paint to that instead. Delighted with the new style of application, and the way that the oils took to the metal, he began to refine his brushstrokes and review the tools he was using, to discover how this new medium could adapt to his style of work. Whilst he may self-effacingly refer to this new direction as ‘good luck’ or a ‘chance encounter’, the opportunity itself may have been auspicious, but the experience to recognise the opportunity and the skill to maximise the new direction it offered, are testament to his proficiency as an accomplished artist.
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