In “Sky Kin II – Gannet on the Weather Edge”, the world is reduced to three elements: cliff, sea, and a single bird riding the line between them. The lower half of the canvas is all North Atlantic – bands of teal and deep blue pushed into long, parallel waves, each ridge combed with vertical strokes that fall like rain. Whitecaps break along the crests, dragging down into thin drips, while flecks of orange and pale gold spray leap off the surface like sparks. Above the water, a dark gannet holds its course along the weather line, wings stretched flat, head tipped slightly forward, the eye and beak picked out in warm ochre that ties it back to the land.
Behind the bird, the ember cliffs rise in a long, continuous wall of rust, umber, moss green and ash-grey stacked in thick impasto. They read as a real place on the Norse-Gael coast, but they’re also something older: a living backdrop against which the sky has been engraved. Concentric weather rings ripple across the upper half of the painting, cut or painted into the surface like the memory of storms. They feel part radar, part carved halo – as if the air itself is marked with the histories of wind, tide, and prayer. The gannet flies straight through those invisible patterns, perfectly at home in a world that most of us only half perceive.
For viewers who acknowledge the world as created and held together by God, “Gannet on the Weather Edge” becomes a quiet meditation on guidance and endurance. The bird flies in the gap between cliff and sea, following lines in the air that only it seems to know. The rings suggest that nothing in this environment is random. Weather, current, and coastline all carry order and meaning and the gannet’s calm, level flight is a picture of obedience to that order. Stylistically the work sits in contemporary abstract realism: the cliffs and sea are highly tactile and painterly, the wave-edges and dripped strokes are unmistakably hand-made, and yet the whole scene is simplified into strong, graphic bands that let it read cleanly from across a room. With its wide 2:1 panoramic format, this canvas is built to anchor any space, whether above a sofa or sideboard, in a dining room, hallway, executive office, or modern lodge, this work is for people who want a serious artwork with real coastal and spiritual weight, not simple beach décor.
Canvas & Materials
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Premium matte canvas on a 1.25" (3.2 cm) gallery-style stretcher
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Cotton–polyester composite canvas for a fine, painterly surface with excellent color retention
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Inner frame made from radiata pine sourced from renewable forests
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Soft rubber dots on the back corners to protect walls and keep the canvas stable
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Hanging hardware included so the piece arrives ready to place and live with
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Please allow for slight size variation (± 1/8" / 3.2 mm) due to the handcrafted production process
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Printed with care to honor the detail and color balance of the original Archie Kilmor artwork.
Original Artwork by Abstract Artist Archie Kilmor.
| |
20" x 10" (Horizontal) |
30" x 15" (Horizontal) |
40" x 20" (Horizontal) |
48″ x 24″ (Horizontal) |
60" x 30" (Horizontal) |
| Width, in |
20.00 |
30.00 |
40.00 |
48.00 |
60.00 |
| Height, in |
10.00 |
15.00 |
20.00 |
24.00 |
30.00 |
| Depth, in |
1.25 |
1.25 |
1.25 |
1.25 |
1.25 |
EU representative: Not Hunters Art, nothuntersart.usa@gmail.com, 16 Springvale Street, Gold Coast, QLD, 4226, AU
Product information: Generic brand, 2 year warranty in EU and Northern Ireland as per Directive 1999/44/EC
Care instructions: If the canvas does gather any dust, you may wipe it off gently with a clean, damp cloth.
