Massive sweeping impasto strokes of electric blue, deep violet, and brilliant white dominate the canvas in a composition that owes nothing to the natural world and everything to the forces beneath it. The paint moves in great arcing curves and sharp diagonal thrusts, layers built up thick enough to cast their own shadows across the surface. Electric cerulean sits against deep indigo and midnight blue, the two tones pushing against each other with a tension that never quite resolves. Sharp bursts of burnt orange appear without warning in three or four places across the composition, small but insistent, cutting through the blue and violet like sparks in deep water. A central bloom of white light radiates outward from the upper middle of the canvas, the source of everything, the point from which all the energy in the piece appears to flow. The edges darken toward near-black in places, grounding the composition and giving the luminous centre somewhere to push against.
Ultraviolet came from thinking about the parts of the ocean that exist beyond ordinary perception. The frequencies of light that disappear below the surface within metres. The sounds that travel hundreds of kilometres through deep water. The electromagnetic fields that marine creatures navigate by and humans cannot detect at all. This piece does not depict any of that. It simply asks what it might feel like to perceive the ocean the way other creatures do, and answers in the only language available to a visual artist.
There is an intensity to Ultraviolet that is difficult to look away from and equally difficult to fully explain. The electric blue and violet palette sits at the edge of what the eye processes as calm and what it registers as charged, and the piece lives permanently in that space between the two. The orange accents do not decorate the composition. They punctuate it, small interruptions that reset the eye and pull it back into the blue each time. This is a piece that rewards sustained attention and gives something different back each time it is approached.
The electric blue, deep violet, and white palette works powerfully against dark walls, charcoal, slate, navy, and black, where the luminous centre of the piece appears almost backlit. Against white walls it reads as bold and graphic, the full spectrum of blue and violet sitting at maximum contrast. The orange accents make it surprisingly adaptable to warm interior palettes, connecting naturally to copper, brass, and terracotta tones in furnishings and fixtures. Particularly strong in boardrooms, hotel lobbies, contemporary living spaces, and any interior where the art is expected to anchor the room rather than simply occupy a wall. The horizontal format gives it natural authority across wide wall spans.
This is for the collector who thinks about what lies beyond the visible, who is drawn to intensity without aggression, and who wants a piece on the wall that continues to reveal itself long after the first look.
This design is available in a range of sizes to suit your space. Available as A0 and A1 poster prints, rolled and shipped. Also available as mounted canvas prints in 16mm, 25mm, 35mm, and 50mm profile thicknesses in both A0 and A1. A large format 1200 x 2000mm option is available on both poster and mounted canvas. Email jacques@jacquesviljoen.co.za for a quote and full details. Please note that proportions shown in previews are for display purposes only. Your final print dimensions will depend on the size you select.
