A band of Hebridean coastline runs the length of the canvas in Sky Kin V – Gannet Past the Ember Cliffs. On the left, a foreground headland rises steeply out of the water, built from thick, circular strokes of paint in ember oranges, oxides, and umbers. The rock feels almost molten, as if cooled mid-movement – each ringed mark reading at once as limpet shell, lichen, and glowing coal. Beyond it, a sheer wall of pale cliffs falls straight into the Atlantic, streaked with cool blues, greys, and soft rose tones under a low green ridge. Below, the sea is restless: dense bands of deep blue, teal, and white-caps cross the lower half of the painting, the brushwork recording the short, muscular chop of an open sound.
Across this field of movement flies a spotted gannet, sharp and close to the viewer. Its wings cut a dark arc against the sky, white body marked with small black speckles, orange bill and tail flashes echoing the fire tones of the cliff. The bird is caught mid-beat, banking slightly into the wind as it passes the ember headland and follows the line of cliffs into distance. Within the Sky Kin – Hebridean Gannet Series, this canvas leans into the “watcher” theme with a more experimental energy: the cliffs feel almost over-charged with memory, crowded with circular marks like watchful eyes, while the gannet moves past as a calm, living witness. For viewers who read the world as created and held by God, the work suggests a dialogue between rock and messenger – the land remembering, the bird observing, both present before their Maker.
Stylistically, Gannet Past the Ember Cliffs sits at the vivid, maximalist end of the series. The paint language is thick and expressive on the left, shifting to more restrained, striated cliffs and graphic wave bands as the eye travels right. The palette sets ember oranges and rusts against storm-blue water and soft coastal sky, giving the piece a strong, cinematic presence on the wall. With its wide 2:1 panoramic format, this canvas is designed to hold a room: above a sofa or sideboard, along a long hallway, or as a feature in a study, creative workspace, or modern coastal lodge. It pairs naturally with interiors that can handle a confident statement – places where collectors want an artwork that feels both rooted in the Hebrides and unapologetically contemporary.
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.
