Gold Gilding, A visit to Mark Fairnington’s studio 20/3/2025

 

During the visit, Fairnington began by introducing several of his paintings from 2024, including The Birds (2024)90 x176cm and The Awakening (2024) 100x128cm. He shared insights into his creative process, discussed his references, concepts, narratives, sketchbooks, digital sketches, and the connection with his previous works. He mentioned new meaning is made while doing the work therefore he let the creation continue canvas to canvas. I resonates with his point of view and started my projects in series therefore I can continue on painting specific topics simultaneously 

 

He also presented a series of his most recent works in progress, which differ from the 2024 series in both scale and format. These new paintings rendered on a vertical panel with gold backgrounds. Fairnington demonstrated the gold gilding process, explained the tools he has been using, and showing the application of gold leaf. He also shared stories of his commissioned gilded paintings and showed us some gilding works he did previously. To me, visually, these paintings stood out from his 2024 collection because the use of gold gilding adds material depth and multiple layers of meaning.

 

Inspired by Fairnington’s phenomenal approach to gilding, I started to exploring the symbolic and conceptual significance of gold in my own practice. I realise gold, a precious metal value for its quality, is often a symbol of the holiness, immortal and unchanging power. However, because my works seeks to express the fluidity and ever-evolving nature of identity. On my painting, instead of real gold leaf, I chose to use imitation gold leaf on the panel. Due to the nature of the metal, it will tarnishes overtime if not sealed or vanished properly. I intentionally chose to not seal the painting, embracing the natural process of tarnishing to suggest the changing nature of identity, also a subtle commentary on the decline of imperial power. 

 

A month later, I attended Fairnington’s artist talk at the Wilson Road lecture hall. After the lecture, I spoke with him and shared my own experience and difficulties I have while doing gold gilding. He kindly recommended a shop in central London that specialises in gilding materials, suggesting I get the proper tools to refine my process. In Unit 3, I plan to revisit the gilding process with the correct tools, not to perfect the finish, but to explore what might emerge conceptually and materially through doing it properly.  

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Reference:

 Fairnington, M. (no date) Mark Fairnington, Mark Fairnington - Painter. Available at: https://markfairnington.com/ (Accessed: 21 May 2025).