Original Abstract Paintings By Yordan Kondov

LONGEVITY OF THE PAINTINGS

Priming The Canvas

Everything starts with the prime layer. I use high quality swedish paint which contains ceramic particles and high elasticity. Human history has proven ceramic as one of the most durable materials we ever used. Most of the earliest historic artifacts we find are ceramic tools and vessels and in most cases they are fully preserved.

Why do I need the elasticity? Everything in the universe expands and contracts with temperature fluctuations. I need a medium that can sustain the constant movement without the occurrence of any mechanical damage of the layers in the painting. In terms of crack resistance acrylic paint outmatches oils by far.

The primer I use also provides the so-called tooth for the paint to hold on. I never sand my canvases because I need some degree of roughness. Otherwise it is much harder for the paint to stick to the canvas properly. There is an eternal debate in the world of art whether panels or canvases are more archival.

I strongly believe that canvases are the better choice because of their higher elasticity and rougher surface which provides the necessary grip. In all fairness we have an endless number of well preserved paintings that are more than 500 years old in spite of being created on a panel or on a canvas. So far both surfaces seem archival enough.

No Added Water

Adding water to acrylics highly reduces the longevity of the paint. For that reason I use it in its original consistency. When switching colors I wipe the previous pigment in paper and never in water. It took me years to learn to blend acrylics smoothly like oils without altering the humidity of the paint.

I also refrain from using slow drying mediums because they negatively affect the structure of the acrylic polymers. These approaches seem insignificant but they produce the difference between 50 and 500 years lifespan of a canvas.

Thin Layers For A Long Lifespan

It doesn’t matter if we talk about creating an abstract painting, finishing a wall or varnishing a piece of wood. Thin layers are always more durable than thick ones. I achieve the needed levels of opacity of the paint simply by altering the brush techniques. Impasto seems appealing for many artists but to me it is not something I need or appreciate. Naturally this preference of mine brings additional longevity to my artwork.

The Pigments In My Art

The idea of longevity of a canvas does not stop with the prevention of mechanical damages. When we discuss longer lifespan we mean keeping the original look of the colors for as long as possible. All pigments are not created equal. Some lose their tint, saturation and value much quicker than others. These are the so-called “fugitive colors”.

You will never find them either in my atelier or in my canvases. I use strong pigments that possess excellent lightfastness and proven mechanical durability. Some of them are Titanium White (PW6), Phthalocyanine Blue (PB15:1), Chromium - Oxide Green (PG17), Permanent Magenta (PV19), Bismuth Vanadate Yellow (PY184 G), Carbon Black and Pyrrole Orange (PO73).

The Right Brushes For Archival Value

As a medium, acrylics are much more demanding to brushes than oils. It took me years of work to learn how to produce the desired look of my abstract paintings. I achieve thin layers and smooth transitions when needed, by using mostly White Taklon Synthetic brushes. They possess the necessary qualities which allow me to paint the way I want without sacrificing the longevity of my artwork.

The Finishing Layer Of Protection

The acrylics are more elastic than oils. This fact makes acrylics more prone to mechanical damage and developing mold.

To overcome these flaws I always finish my abstract paintings with high quality water based polyurethane varnish. It provides the necessary hardness and makes the canvas more durable. It also prevents the occurrence of mold. When it comes to paint and varnishes we have water soluble and fat soluble chemicals. It is always a better choice to combine layers of material with similar properties. This is why I varnish with water soluble substances.

The Owner's Responsibility

I always do everything possible to assure the longevity of my large canvas paintings. After that the responsibility of preserving the original look of the artwork is entirely in the hands of the new owner. It is highly unlikely that most people will be able to provide museum conditions for my paintings. Nevertheless, here are some of the most important things you can do to preserve the canvas for many, many years.

You should keep all your paintings away from direct sunlight. You should avoid exposing an acrylic artwork of freezing temperatures. The optimal choice is constant 18° C (65 ° F). When it comes to humidity levels somewhere between 45% and 65% is the best option. As a rule of thumb the best thing you can do to protect your paintings is to avoid sudden fluctuations in temperature and humidity. Gradual seasonal changes are more acceptable.

The Visual Effects In My Paintings And Their Longevity

Many abstract expressionist artists use all sorts of unusual tools to achieve different visual effects. It is very common for too many painters to use different types of scrubbing tools. By scrubbing the surface they achieve a look of old and worn out walls and fabrics. I refrain from such methods because these rough tools harm the canvas and the already dry lower layers of paint.

By rough actions the artist could create an invisible layer of dust on top of which it is many times harder for the paint to stick to. The problems may not occur right away but the lifespan of the artwork will inevitably be reduced. I use similar visual effects too but I achieve them in different, much more preserving ways. I mostly rely on White Taklon Synthetic Brushes to create most of the effects I need. To produce a worn out look I gently apply paint with rough contractor gloves.

The Composition And The Colors In My Art

The Main Goal Of My Composition

My desire is always the same and straight forward. I want the viewers to be constantly involved and attracted to my canvases and to discover something new with each glance. To put it even in a simpler way I want my canvases to never get old.

My Ways To Achieve Visual Influence

My main visual concept is the universal battle between order and chaos. I try to make a high degree of disorder appealing which is hard for most artists. Each time I create a repeating pattern I always counter it with a shape that has nothing in common with it. This is how I keep the viewers constantly involved. Our minds always explore the surrounding environment and seek for repeating and familiar things. When the brain achieves that feeling it automatically switches away our attention.

I counter this effect by producing the impression that there are repeating patterns to be discovered but meanwhile there is always more exploration to be done. I make a visual promise, I break it and make one again. This way my art becomes not only attractive but hypnotic. To me the feeling that a canvas can be comprehended to the same degree but never completely is the golden spot in art.

The Focal Point And The Geometric Shapes

As we mentioned before I want my art to never look predictable and too easy to comprehend. Geometric shapes could destroy this goal of mine. They easily attract attention as something familiar and easy to understand. This is the reason I always avoid regular geometric shapes because they easily attract the attention of the viewer and dominate heavily over all other elements of the composition.

Many painters try to create a strong focal point and few additional ones. Such artists want to navigate the viewer's attention. To me such an approach makes the composition predictable and most of all less involving. To addict a mind there always must be something left that is not comprehended and completely clear.

Each look must bring new information and this way a painting can always remain attractive. You can never truly hypnotize a mind without some degree of irregularity and disorder. The most beautiful things are not the most attractive ones.

The Tints Of Choice

Many abstract expressionist artists use colors straight out the tube and directly on the canvas. To me such an approach is too raw. A century ago such an art movement formed and lasted for twelve months (Fauvism). It is raw and robs the richness a pigment can achieve.

I always reduce the saturation with complementary colors, white and black.

The Values And Their Role

The value of colors indicate how dark or light they are. Because of values we have three dimensional vision. When I compose an artwork most of the time I arrange similar color values around the edges of the painting. This way it looks like a coherent piece of art and it can look well on its own without the need to be framed.

In terms of values most of the time I use darker more saturated colors in the lower layers and lighter for the top layer.

The Arrangement Of Colors

As we mentioned, I always arrange colors from left to right as follows: purple, magenta, orange, yellow, green and blue. Most of the time I don't allow complementary tints to cross each other. It is truly unappealing for the viewer to experience blue and orange, magenta and green or yellow and purple when they touch each other. In very small portions of the canvas I allow such a contact to prevent the painting to be perceived as too predictable and harmonious.