The creation of “On A Pedestal” followed a disciplined, deliberate process rooted in classical painting methods—an approach designed not only to capture form and light with precision, but to invite stillness and attention at every step.

The composition began with observational studies and pencil sketches, refined until the balance of shapes and space felt quietly resonant. The final drawing was then transferred onto the prepared linen panel with light charcoal, allowing for careful adjustment before paint was applied.

A monochromatic underpainting came next—executed in values of grey and brown—to establish the tonal structure of the image. This early layer set the stage for everything that followed, clarifying the relationship between light and shadow and grounding the composition in quiet contrast.

Once dry, the color layers were introduced gradually—built up in translucent glazes and soft opaque passages. Working this way requires patience, as each layer must be allowed to dry fully before the next is added. But it allows for remarkable control over surface quality, and gives the final image a subtle glow as light moves through the paint.

This careful layering—guided by centuries-old techniques—creates a visual harmony that rewards sustained attention. It is not simply a method of painting, but a mode of seeing: one that honors form, stillness, and the quiet dignity of familiar things.