In this particular instance, the position of the object in relation to certain striking & significant features such as the painted lettering on the road, & the desire & endeavour to include these within the composition, led to the picture frame being rotated from the habitual horizontal ‘landscape’ to portrait format.
Once again, processes of surface erosion & deterioration, resulting in a form of craquelure upon/within the lower yellow line & the revelation of patches of the original tarmac surface beneath the subsequent overlays, provide both a physical texture to the scene as experienced & a visual texture to the picture plane as represented/reproduced, in the manner, it might be suggested, of the techniques & traditions of painting in oils or acrylics, with accumulations of layers, marks & scrapings-back contributing to the creation of the pictorial surface & its formal design: the embedded still life object of course adds to the overall ‘art’ credentials...


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