Hardboard 

7 creative works found

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  Corfe Castle, Dorset
  by Woodie

  An old (1980) acrylic painting I did for my sister who lives in Corfe Mullen near Wimborne Minster, in Dorset. I could only afford hardboard in those days to paint on and I did it on the rough side. (See Pauline Tims Photo) / Acrylic 16×20”

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  Semblance of Order
  by Anthony R. Plastino III

  This piece is the start of a new experience for me. I’m usually drawn toward a much more structured abstraction. Also, the substrate is new for me. Hardboard. Very very smooth surface and SO wonderful to work with. The work is also a hybrid of “organic” and geometricity. This piece is now a part of the personal collection of Katherine and Robert Burns!

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  The Feeding
  by Anthony R. Plastino III

  What lurks in imaginative places? / What skulks in mangled faces? / What feeds what?

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  One of Her Eyes
  by Anthony R. Plastino III

  Long time ago, there was this awesome song, by an awesome group – I’m thinking it was “It’s a Beautiful Day” then again it may have been “Dan Hicks & His Hot Licks” – either way, the song went: “There’s a girl in my room and her face on the wall with no eyes…” Ahh! I found it!! What a trip, this really takes me back… This is one of her eyes… Acrylic on hardboard – 18” x 24”

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  Fascination
  by Ashley Hoffmann

  Oil on Hardboard

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  Time to leave the beach 2darts,
  by Ian Farnbach

  Oils on hardboard, A2 sized. Once when the weather changed from sunny stillness to something more like angry and blowy, I could see it as something that peo0le could really relate to. Having to comply with what the weather says can only be a humbling experience. The kid in the painting is / was me and this is a strong memory I have with my father on a Queensland beach years ago. 2Darts

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  Number ONE
  by James Lewis Hamilton

  I painted this while in Jamaica in 1966. I used latex interior house paint, since someone ‘took my magic tube paints (oils). The original is painted on a 16” x 32” piece of masonite or hardboard, on the ruf side. / The painting started with the drawing of the woman in lavender. This color was achieved by my having acquired the ‘mixing colorants’ used by the paint company to mix up all their variety of colors. I kept experimenting with these colorants for several years. / I remember being pleased with the lavender lady and kind of ‘projecting’ “an ideal woman” on to her. The abstracted male, “the jolly green giant” I knew even then was my own unformed sense of self and masculinity. / I was painting on the veranda of Stacey’s Montego Bay Guest House. Stacey, friends and guests could all get into the act of discussing anything artistic, my painting in particular. Stacey latched onto her choice of title “Number ONE”. Then she latched onto the painting itself, hung it in the place of honor in her salon and told me it’d help compensate her for my room and board, which I had no money to pay for. The arrangement worked for me. / She returned this painting to me many years later. It usually hangs somewhere around our house, but right now it’s in the closet with a broken frame.