Deadpool was fucking SPOT ON. Chick-chicka!




Christopher Woodall, The Metric System, 2024, tempera and acrylic on canvas, 40.6 x 50.8 cm (16 × 20 in)
This painting unfortunately sustained minor water damage when my roof and ceiling collapsed during a thunderstorm. The water damage has been cleaned as much as possible and a new sealant applied in an effort to restore and preserve the original colors. Unfortunately the new sealant darkened the piece significantly. This is the only photo of the painting’s original appearance before it was damaged.


Christopher Woodall, Did You Notice A Sign, 2024, tempera, acrylic, and tempera glitter paint on canvas, 40.6 x 50.8 cm (16 × 20 in)
I’ve never worked with tempera glitter paint before, and after this I never want to work with it again. It is difficult to apply, difficult to see, it dissolves underlying dried paint, and doesn’t give anything like the finished effect I was looking for. Still, I’m happy with the way this turned out, especially the weathering on the yellow stripes. I feel like I’m finally getting a real feel for making colors do what I want on black canvas.


Christopher Woodall, The Guns Of The Navarone, 2024, tempera and acrylic on canvas, 40.6 x 50.8 cm (16 × 20 in)
The image below was a sort of test canvas for The Guns Of The Navarone. I painted the rough outlines of the American flag and knew that I was on the right track. But I would need to refine the painting to better match what was in my head. I spray painted a thin coat of flat black over the painting below, let it dry completely, then removed some of the black spray paint with sandpaper. This gave me a black canvas with patches of turquoise and yellow showing through. This was the canvas on which I painted A Bowl Of Rice; you can still see some of these details behind the red bars. The Guns Of The Navarone was painted on a new canvas using photographs of the test canvas as a guide.




Christopher Woodall, A Moment Of Clarity, 2024, tempera and acrylic on canvas, 40.6 x 50.8 cm (16 × 20 in)
This painting was made entirely without the use of brushes. All paints used in this piece were dropped from their bottles onto the canvas and allowed to run their courses guided only by gravity. Once on the canvas, the paints were never physically touched.