Another year, another go at the 88 STRONG show. As usual, artists receive up to eight 8″x8″ wood panels to create art on, working off of 88 possible themes. This year I started off with throwing lots of color down, without any idea where it’d take me. Some of it worked, some of it didn’t, but luckily I have plenty of this size panel to work with –finished 8, probably have about 12 that I was working with. Bought a big ol’ roll of pallet tape which works great as frisket paper. Recent work involves use of color, shapes, and layering of gel medium transfers.
So terrible at putting up new stuff, sorry, This got done back in January. This piece is kinda a triumph for me, process-wise, as it started out throwing paint on an already wallpapered panel.
It told me what it was looking for, and, once images were found and manipulated, it got done. Yeah, so what, that’s what supposed to happen, right? Yes, yes it is, but that’s the thing. the “gettin” part. See, the piece said, “you need just this type of head”, and that was easy enough –2 grey’s images, reworked together. But then, what’s it needing? Pull up some of that flower wallpaper out of the splatter paint, see some flow, some movement, start thinking a lot on composition, and wait for it. take some older halftone work and work it in, like waters, it shoulder deep. Still all waiting for the image to start bringing things in, focus my search to colors, making this picture RED. Success at the bins, finding an old 70’s coloring book, providing me with subjects, background, a “place” for that head to sink into. Then it’s push and pull, selecting what stays and goes, and making a great decision for my head’s “hair” –because of the original splatter paint working with the head, I always saw the head as a her, with flaming hair. The piece had really grown away from that, like it started as “you could be mine” by G’n’R, but was turning more into “november rain”, if you catch my drift. The work, by then, with all the red, and images of trees and foilage, was screaming fall leaves, which were a plenty. Once I resolved the lower portion from the previous decision of halftone dots (which is kinda it’s weak point) with the laying flat face, it was done.
–and yes, for you observant folks, that “red tree background” in the finished piece is used (albeit more manipulated) in the “zoey” plate of previous blog-post. With the finishing of this, and the sucess at the zoey piece, I will sometime make a plate with this image on it, that is, once I find the plate for it.–
–something like that.
well, that didn’t take long. finished. actually, the plate I’ve had prepped and waiting for an image for at least 3 years. THIS is why they’ll find me in a hoarder-house someday. Mind you, it’ll be hoarded full of artsy-farts material waiting to be ‘podged together.
Anyways, this is a plate with a gel-medium transferred image. The image is three images cobbled together via photoshop.
just something new, using something old. I’m thinking this will go on a plate.
Doesn’t look like much has gone on for like….a year? Well, nope. Stuff has gone on. “stuff”, like, say a total of 10+ new pieces that aren’t up on the site. That’s just silly of me. Been really working on developing a printing-style process of creating collage using gel-medium transfer techniques. But then I go and throw paint down, then I go and see something in it, then I have to go and chase that for a while. Not a lot of work this year, but the process behind the work has been generous.
If you don’t know about gel medium transfers, well, there’s like a million different ways and means, and I have definitely got some opinions on the matter, but here. This link is a pretty decent start. I’ll have to make a tutorial sometime…
So this is something that’s been sitting around, half done, for —let’s just say 2 years. It’s probably more than that. At the time when I made the image itself I was experimenting with CMYK images –how to break an image down in photoshop into the 4 channels and prepare them for eventual screenprinting. I was also then dabbling with image transfer techniques –I also had a lot of film (transparency film for burning screens, which I had quit using since I had gone to the veg. oil and photocopy technique of making films) and a lot of glass (cuz I was framing a lot of artwork). I had other interpretations of this image, just nothing that really worked so far. So it was in the spirit of “lets just see what happens” that I made this verson. There are two films sandwiched together on top of glass. One film is the Magenta and Black channels, which depict an old (and common) image of Death, coming out of the grave. The other film, done in the yellow and cyan, depict a common image of Jon Benet Ramsey in full child beauty queen regalia. Those who don’t know who she is, look her up. I’ll let you come up with your own interpretation of why the two have been combined, though I think it’s obvious. Anyways, after putting the glass together and putting it into a frame, I put it away until just this month. I think it was more about trying out something than coming up with a finished piece, and when i got to that point I guess I was stumped. Without it being in a window, or some light source behind it, it was too dark. So it got put away and forgotten about, mostly.
This coming month there is a group show that I thought this would be perfect for, so I got it back down and thought about how to make it work better. 2 weeks thinking of “how do I create a lightbox that’ll work, look decent, but still be temporary in case the viewer/owner wants to put it into a window”. Then I said, this thinking isn’t getting me anywhere, lets just build it and figure it out as I go. This is the result. The light box is made up of scrap wood, a piece of semi-opaque acrylic, and a 26 ft. string of LED lights woven behind the acrylic, powered by batteries. The LEDs run cool enough to where they won’t cause any problems with the glass or plastic films, the battery pack solves any problem I would’ve had with wiring, and is cheaper and as effective as flourescent lighting. The simple box framing is held onto the frame by 4 screws, so it’s easy to take apart and hang without the lightbox, though now I’m a big fan of the lightbox, which had been put together in under a day. Part of me says “why didn’t you do this sooner?”, but most of me says “Good work Larry –Good work and in due time.”
Is obscurity itself the test tubes of tomorrow? Or is just the testing done to pave the way of sorrow? Is the chalice set upon the table for the bride of prima donnas? Or can indeed, the world be freed by finger popping mommas? Is the confusion of immorality little more than a doubt on the face of infinity? Or does indeed immorality feed upon itself And hence hasten to speed it’s own mortal conclusion? Is the scent of melting tin upon the tracks of time The mere excuse for letting loose the calling cards of crime? Or is this verbose verbosity that very violation? Does not the babbling brook run its way to oceans and streams Only to dry up and rain once more? -from “the knife fight” by THE RESIDENTS off of ‘WHATEVER HAPPENED TO VILENESS FATS’
This piece comes to you by Divergent Thinking. The question after the answer, The solution from the making. Materials arrived at a time when issues had to be addressed and were used accordingly without hesitation, which created new issues which were then pursued. The background, made nearly a year before the rest, are circle punchouts from a bunch of CD covers mostly 90’s rock/pop/etc., randomly placed. Somewhere there’s a GIF file showing the placement.