I discovered Flashe paint while living in New York a few years ago. It caught my attention after hearing artist friends rave about its matte qualities and the depth of colour it offers. As someone with a materials-focused practice, I was naturally curious to try out this new paint and see what it had to offer.

One of the initial standout features for me was the packaging - the glass jars that Flashe paint comes in proved to be incredibly useful. They allowed me to easily scoop out the exact amount of paint I needed, minimizing waste and the empty jars have also come in very handy as pots to mix my own colours.

Flashe paint’s matte colours are truly remarkable. The depth of colour achieved with Flashe is impressive, they possess such a vibrancy and intensity they have become a studio staple. I work with a range of materials including, canvas, paper, aluminium and glass and the beauty of Flashe is that is adheres to any surface. I would previously need to sand down aluminium to help the paint adhere to the surface but Flashe went straight on, and the colour stays consistent no matter what surface I have applied it to.

Defining Flashe paint can be a bit challenging, as it doesn't neatly fit into a single category. The best way I can describe it is as a blend between acrylic paint and gouache. It combines the matte finish and high pigment qualities typically associated with gouache, resulting in excellent colour coverage and opacity. However, Flashe paint also behaves and handles like acrylic paint, offering the flexibility to layer, blend, and build up textures in my work.

In addition to its unique characteristics, Flashe paint also boasts a relatively fast drying time, which allows me to work efficiently and experiment with different techniques without excessive waiting periods. This feature was particularly valuable when I was creating a mural at London Graphic Centre last year. The commissioned panel was 4 x 3 meters in size, and the fast-drying speed of Flashe paint enabled me to build up multiple layers on such a large-scale painting in just two days. Another aspect that surprised me was how easily the colours blended, making it effortless to mix large pots of paint. For more delicate areas, I discovered that the combination of Flashe paint with Windsor and Newton Cotman brushes was a perfect partnership, allowing me to achieve the desired effects with precision and finesse.

During the process of designing the painting for London Graphic Centre, I delved into the history of Le Franc Bourgeois, the company behind Flashe paint. It was fascinating to discover that Flashe has been in existence since 1954, making it Europe's first synthetic paint! I couldn't help but feel surprised that such a remarkable product had remained somewhat of a well-kept secret in the art world for all these years.
In my research, I also stumbled upon the fact that the renowned artist Nikki de Saint Phalle had used Flashe paint in her own work. Nikki de Saint Phalle has been a longstanding source of inspiration in my artistic practice. It felt like a serendipitous connection, so the piece became a homage to her Nana series. The Nana series resonated deeply with me, and I sought to capture the joy, energy, and movement that these dancing bodies embody. "La Danse" became a celebration of both the rich history of Flashe paint and the artistic influences that have shaped my creative journey.

Flashe paint has become an integral part of my artistic practice, offering me a unique set of qualities that elevate my work. Its matte finish, vibrant colours, versatility across surfaces, and fast drying time have proven to be invaluable assets in my creative process. Whether I'm working on smaller pieces or tackling large-scale projects, Flashe paint continues to exceed my expectations and inspire new possibilities in my artwork.