ELKYMY ART - At The Worlds End

ELKYMY. 'At The Worlds End' Acrylic, polyurethane, powdered pigments (Mica) on 4 deep edged stretched canvases. 24 x 18 inches each (61 x 46 cm)

‘At The Worlds End’, is a series of paintings comprising of telescopic views of the faces of different imaginary exoplanets, each set against a sea of blackness and the dark void of space.

Despite the advancements of science and the exploration of space, deepening our understanding of our cosmos, it has also become a much stranger place given its infinite formlessness and the barrenness of its void. Inspired by views of Jupiter captured by NASA's Juno Spacecraft, ‘At The Worlds End’ depicts imagined landscapes and extra-terrestrial topography of planets yet to be discovered.

A celestial and imaginary cosmology procured by artistic imagination and the unconscious mind, these paintings conveys an overall sense of man’s insignificance when confronted with infinite space and the immeasurability of time.

The textural terrain of the surface comprises of an initial application of polyurethane foam which was first applied onto the surface of the canvas, then shaped and scraped using various tools and impediments.

Due to the chemical nature of the expanding foam, which requires moisture to expand before curing to form a solid three-dimensional surface, left to its own devices or with minimal intervention, the foam will expand and cure to form a solid three-dimensional structure that has a puffy, cloud-like quality. The foam can also be modelled by shaping and scraping to created textural effects evocative of those found in natural landscapes.

However, despite the intervention of the artist’s hand, the foam has a certain quality of fluidity as it continues to grow and morph in shape and size before it eventually dries out and cures. The ‘formlessness of foam’ and the unpredictability of its final form can be seen as a manifestation of the spontaneity of nature.

A driving force underpinning the artistic vision of these works is the artists’ preoccupation with the search for the perfect balance –– the equilibrium between the agency of the artist's hand, the spontaneity of the materials, and the interaction between the pigment and paints themselves.

An initial application of varying tones of pigmented colour to create a tonal underpainting recalls one of the techniques (Grisaille) used by the Old Masters to depict areas of dark and light. Thin transparent glazes and washes of interference and iridescent colours were applied over the grisaille underpainting comprising of varying tones of pigmented paints. Due to the shifting nature of interference colours, the painting changes in appearance when viewed from different angles.

Overlapping layers of transparent pigments and thin glazes of iridescent colours evoke the quality of swirling clouds and luminous bands of atmospheric gases arising from dramatic cyclonic storms on distant planets, as seen in infrared views of space. One of the key features of reflective paints (interference and iridescent) is in its ability to reflect light differently than regular pigmented paints. The diffusion of colour caused by the effects of overlapping glazes of transparent pigmented paint, interference colours, and gloss gels, imbues a sense of the ethereal glow emanating from the cosmic dust of a nebula, or the atmospheric planetary hazes rising from the merging of storms.

While this evokes otherworldly and celestial scenery, "At The Worlds End" can be seen as a manifestation of the connection between the psyches of the two artists. The shaping of foam was executed without conscious intent or a plan, and hence is based on unconscious material.

The resulting imagery recalls the birth and death of planets and imbues a sense of the cyclical nature of time. Because of the connection between the individual and collective unconscious of the artists, the pictures take on an added dimension –– becoming a conduit between art and science, artistic imagination and the collective unconscious.

ELKYMY. ‘Satya स"य’ Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas. 24 x 18 inches (61 x 46 cm)

‘Satya स"य’ by ELKYMY

Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas

2020

24 x 18 inches (61 x 46 cm)

’Satya’ provides a brief moment of interstellar escapism, reaching to the stars and galaxies for solace amidst these trying times here on our earth.

This work was executed using high quality professional grade materials and mediums from the Liquitex and Golden Acrylics Professional range.

Done on Loxley Gold 3D canvasses with a depth of 1.3", making framing unnecessary. The works are also finished with archival standard sealant with UV protection (Golden Polymer Varnish) which gives a protective flexible dust-resistant surface. This varnish is removable with ammonia for restoration purposes if needed. A non-removable isolation coat was applied over the painting prior to varnishing, giving an extra layer of protection if/when the varnish is removed.

ELKYMY. ‘Tretā त्रेता’ Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas. 24 x 18 inches (61 x 46 cm)

‘Tretā त्रेता’ by ELKYMY

Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas

2020

24 x 18 inches (61 x 46 cm)

‘Tretā’ provides a brief moment of interstellar escapism, reaching to the stars and galaxies for solace amidst these trying times here on our earth.

This work was executed using high quality professional grade materials and mediums from the Liquitex and Golden Acrylics Professional range.

Done on Loxley Gold 3D canvasses with a depth of 1.3", making framing unnecessary. The works are also finished with archival standard sealant with UV protection (Golden Polymer Varnish) which gives a protective flexible dust-resistant surface. This varnish is removable with ammonia for restoration purposes if needed. A non-removable isolation coat was applied over the painting prior to varnishing, giving an extra layer of protection if/when the varnish is removed.

ELKYMY. ‘Dvāpara (द्वापर)’ Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas. 24 x 18 inches (61 x 46 cm)

‘Dvāpara (द्वापर)’ by ELKYMY

Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas

2020

24 x 18 inches (61 x 46 cm)

‘Dvāpara’ provides a brief moment of interstellar escapism, reaching to the stars and galaxies for solace amidst these trying times here on our earth.

This work was executed using high quality professional grade materials and mediums from the Liquitex and Golden Acrylics Professional range.

Done on Loxley Gold 3D canvasses with a depth of 1.3", making framing unnecessary. The works are also finished with archival standard sealant with UV protection (Golden Polymer Varnish) which gives a protective flexible dust-resistant surface. This varnish is removable with ammonia for restoration purposes if needed. A non-removable isolation coat was applied over the painting prior to varnishing, giving an extra layer of protection if/when the varnish is removed.

ELKYMY. ‘Kalī (कली)’ Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas. 24 x 18 inches (61 x 46 cm)

‘Kalī (कली)’ by ELKYMY

Acrylic, polyurethane, powdered pigments (Mica) on deep edged stretched canvas

2020

24 x 18 inches (61 x 46 cm)

‘Kalī’ provides a brief moment of interstellar escapism, reaching to the stars and galaxies for solace amidst these trying times here on our earth.

This work was executed using high quality professional grade materials and mediums from the Liquitex and Golden Acrylics Professional range.

Done on Loxley Gold 3D canvasses with a depth of 1.3", making framing unnecessary. The works are also finished with archival standard sealant with UV protection (Golden Polymer Varnish) which gives a protective flexible dust-resistant surface. This varnish is removable with ammonia for restoration purposes if needed. A non-removable isolation coat was applied over the painting prior to varnishing, giving an extra layer of protection if/when the varnish is removed.