The Creative Process


The three most common questions Selu will hear, at least a dozen times, throughout the course of an exhibit are:

  1.     What is your medium?
  2.     Do you paint on glass?
  3.     What surface are you painting on?

Other honorable mentions include:

  •     What is this?
  •     Is this sand paint?
  •     Is this Stone?
  •     Are you painting on glass?
  •     Are you using resin?
  •     Are these photographs?
  •     Did you do all of these yourself?

And finally, his favorite question of all:    "'re the artist?"

"I have come to understand that most people have a certain image or expectation of what an artist should look like.  It's not uncommon for people to think that I am the booth sitter or the "helper" when they walk into my gallery.  It actually makes for interesting conversations.  Reflecting on this, I have decided that the late Bob Ross ruined it for all of us aspiring artists.  Bob Ross is the legendary American Painter with an Afro who we all grew up watching on PBS as he created magic in just 30 minutes.  Now that is what a real artist should look like!"


Selu's Processes and Techniques



I fuse oils and acrylics.  Oils and acrylics naturally have a polar reaction to each other.  They simply do not want to coexist; they resist each other.  This separation of the two mediums is augmented with the incorporation of heat resulting in a beautiful assortment of movements and color experiences.  I also incorporate, stones, bone carvings, and sandy tectures as accenting elements.


Shiny Finish Surface Material


The shiny surface is achieved by baking on an enamel at a certain temperature to keep my oils and acrylics in perspective.  The shiny surface is the unintended consequence of this process, but it certainly brings out the natural colors vividly.  The enamel has a viscosity level such that it freezes the two mediums as they fight to separate.  This is the mechanism that begins the magic.

Because I use heat, I simply don't have the option to paint on a traditional cloth canvas.  So it is necessary that I use a rigid canvas in order to sustain the heat as I work.



Color coordination and organization, timing, repetition of application or "layers" of paint and enamel are all performed in conjunction with one another.  Knife strokes and brush strokes along with scraping and reverse inlay are all techniques required to produce my work.  A balance of cold and heat application requires experience and lots of ruined pieces before the skill is achieved.