Paso Doble
Proud to showcase my recent bull studies in Dallas, having just returned from a successful adventure, I thought it poignant to reflect on one of the most unique pieces in this year’s series: The Paso Doble. Unlike a lot of my pieces, I felt the desire to create a triptych here — inspired by the works of Francis Bacon. Despite not actually having the ‘correct’ size canvases for a conventional triptych, I absolutely needed to pour the creativity out whilst the urge took hold, hence the resulting pieces not being the same size. Yet this is not something that concerns me. Conforming is not a concept that interests me as an artist. I may revisit the sizes, but the Paso Doble was created in the moment, with what I had in the studio, therefore it is genuine and authentic. Although what might seem to be indecisiveness — the creation of three images — trust me, I worked with intent. And for this one time, forget the Matador, he is inconsequential. Instead, take a moment to admire the dance between the bull and the cape itself.
Mistakenly, people assume the bull is attracted to the outer red of the cape, but the colour is irrelevant; it is her twists and turns that hypnotise the bull. Mesmerised, he is locked into the performance. I was locked into the performance of creating the pieces. Subconsciously using yellow, I chose to showcase the flicks and flexes of the underside of the cape as she rolls and shows off her underbelly, teasing the bull into a beautiful dance. Perhaps inspired by Van Gogh’s favourite colour (as I often am), the fiery amber burns up the canvas and challenges the black of the bull, allowing her to hold her own. It is well documented — I like my colours to be punchy and vibrant. To shout loudly in a room.
In addition to colour, I am aware that a new signature technique is emerging in my work. According to Picasso, a line is where you make a mark, you commit to the act of creating a message. I feel that each time I paint. My father used to echo this sentiment too — whatever you choose to do, do it with interest and passion. Not dissimilar to that of Inferno, I have committed to conveying movement and intensity through the use of lines too. Recognising and appreciating their visual power, I have employed lines to create frenetic energy that spirals up and down the canvas — my intention? A personal desire to capture the power of the dance through each stroke of the brush. Ultimately I am challenging the world to see beauty in what may seem daunting or frightful. Let’s be defiant and dare to dance with provocation.
As for the order of the triptych? Well I imagine the full body of the bull would take centre stage, and the paintings would be hung horizontally across from one another. Maybe this would serve as an ironic nod to the horizon of the plains which would stretch out before bulls that roam freely. But to be honest, when composing with my brushes, I can’t say I gave it too much thought. Again, possibly influenced by the way Van Gogh worked, I did not have a plan. Plans can stifle creativity, even kill it. I merely erupted on the canvas — semantics were of no consequence to me. The irony here however, is the meticulous planning required to frame and ship the pieces. I guess you can be as free and fluid as you want in creation, but there’s no escaping the mundanity of logistics!
After pulling off the aforementioned logistics and returning home, you might assume that I am perhaps exhausted by my love affair with bulls. However, this could not be further from the truth. My commitment to them refuses to wane. I am curious about developing character and psychology through them. Perhaps I will revisit Brother Bulls, who reveal their individual identities, or maybe I will be inspired to birth a new bull. Whatever the case, I am poised, brush in hand, ready to make my next mark. #pasodoble #bullfight #barcelona #spanishartwork #bullartwork #muleta #bullpainting #bullfightpainting #matador #shabsbeighart #blueandbeighart #spain #bulls
