Patrick Faith - Fine Art

For Inquires, please send email to .


My paintings are centered around touch. I start the painting by dipping my hand directly into the pigments, and start shaping the color on the canvas through edges of color. These edges of color reflect tension of spacial elements, which are topologically general when i start a painting. Given this starting tension of color, I play with the canvas in layers, developing a spatial story. When the story means something to me, I stop painting, otherwise I add another layer.

As I paint, the canvas becomes thick with color, with sheets of pigments tearing away from the vertical in chaotic patterns. The reason why I paint directly with my hands, is if I use a brush, I loose the connection between the canvas and my thoughts, and the painting doesn't work for me. From a very practical viewpoint, I place my hand in the paint, and basically flick my hand throwing the paint to the canvas in small lines which then builds up a fabric of colors. Then I normally at some point put my hand directly into the fabric to sculpt the color and mold a shape, repeating this process while shapes are forming like when you visualize objects in the clouds.

The paintings are fairly big, I often stand back and feel the painting, then walk up to it for burst of activity. My technique is not the most efficient, since this process may go on for weeks and I have unwanted turns problems based on events I don't control, but it gives a depth to the painting which i enjoy. At some level, I'm watching the painting develop as by stander. Something is always happens in the painting, but there is always a risk that I will loose the story of the painting in the next layer, where the topolgy decay's into chaos, and I trash the painting.

Somewhere along the process, I start to feel elements come together and I reinforce those elements re-entrantly. Thus each painting, is really 6 to 10 paintings, where I am folowing a primary topology, which evolves as a cycle developes between the canvas, eyes and hands. Things unfold as they may, I try not push the painting any certain direction, it kind of paints itself with me. Sometimes though, the edges of color decay(normally because I push a element rather then let it form naturally), and I'm forced to wash over the entire painting with a hose, or just scratching the paint off down to the canvas. What is left is the finnished painting, it feels to me as if I'm sculpting through the paint in these circumstances.

If you look at the bottom of my paintings you'll see drips of paint that have fallen off the canvas. Since I have over a gallon of paint on a canvas, the paint will sometimes break off like a landslide of color, crushing the work i've done. If it's hopeless I let the paint fall to floor, otherwise I lean the canvas on the ground and take out a heat gun to "save some drips".

From a personal viewpoint, I want people to be able to relax and look into my paintings, almost be absorbed into the painting. I feel successful when they see my primary nodes of thought in the painting, yet start bridging that with other things coming out of thier experiences. I enjoy just looking at the mix of colors, focusing just on small one inch areas, then moving across the canvas in a relaxed manner(like kids looking at a x-mas tree filled with objects and light). I want people to be able to come back to my paintings and see something different in every viewing.

Fundamentally, I connect with the pigments when I put my hand in the paint, and give something of myself to the canvas when I release the paint from my fingers ... After that who knows ;)

Send Email Inquires to

"Patrick Faith Patents"

Copyright (C) 2007 Patrick Faith