10/06/2026
When working on such a large scale, 210*340 cm, the relationship to details has to change. Or at least it has to be consciously chosen. With smaller formats, there is usually a limit to how detailed you can paint, or let's say, there is a limit I've kind of gotten used to. I usually paint detailed in a few areas of the painting, while I leave other areas less worked out, and in some areas I leave part of the process visible, like part of the sketch or the underpainting.
At the scale of this painting, my usual relationship had to be formed anew. I tried to translate my preference to an uneven finishing, to an uneven amount of detail, to this scale.
Most of the work was done with big brushes, brushes that I never use for other paintings. Detail began with the biggest brushes I use for other paintings, which here seemed small!
In the end I also used small brushes. But there are still many areas that are very raw. And I like it this way. If you look at the sections I posted, each one has its own internal composition. From up close, each section looks like its own abstract painting.
There is something enchanting about just leaving parts of a scene imperfect, not completely finished, just kind of hinting at reality.
