Between the Squall
€95.00
Größe: 50 x 50 cm / 20 x 20″
Rahmen: No Frame
An energetic interplay of bold blues and vibrant pinks, layered with soft neutrals that create dynamic depth and texture. The abstract composition conveys movement and transformation through its varied planes of colour and intricate layering. This modern piece expresses a sense of fluid change, making it an engaging addition to any contemporary space.
- Poly-cotton blend canvas with a matte/satin finish. Scratch, crack, and warp resistant.
- Vibrant, long-lasting colours with water-based HP Latex inks and UV protection.
- Solid wooden frame from renewable sources, 4 cm deep.
Shipping usually takes 4-8 business days. If you have any questions about shipping, feel free to contact me through the contact form.
If your order arrives damaged, don’t worry. Just send me a clear photo of the damage, along with the barcode and the packaging, and I’ll arrange a free replacement right away.
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About the Artist
Hello, I’m Lucy, an abstract artist on the west coast of Ireland, tucked between Atlantic weather and fields that never quite sit still. Most days I’m chasing that in‑between feeling, the way light hits a wet road, or how a hedge dissolves into colour when you’re not looking straight at it.
I work mostly in acrylic on canvas, building up thin, transparent layers and scraping parts back so older marks re‑appear. It ends up a bit like a controlled car crash of colour and texture: countryside greens, stormy blues, wildflower pinks, all arguing and then somehow settling down together.
I originally studied graphic, product and furniture design, so composition and form are always in the back of my mind, even when the painting looks wild on the surface. I’m self‑taught as a painter in the practical sense, a lot of quiet trial and error, a lot of “what happens if I do this?” and being willing to live with the mess until it turns into something that feels honest.
I work mostly in acrylic on canvas, building up thin, transparent layers and scraping parts back so older marks re‑appear. It ends up a bit like a controlled car crash of colour and texture: countryside greens, stormy blues, wildflower pinks, all arguing and then somehow settling down together.
I originally studied graphic, product and furniture design, so composition and form are always in the back of my mind, even when the painting looks wild on the surface. I’m self‑taught as a painter in the practical sense, a lot of quiet trial and error, a lot of “what happens if I do this?” and being willing to live with the mess until it turns into something that feels honest.
