July 26, 2011 § Leave a comment
Much of the imagery in the vestibule drawings stems from floral imagery and patterns taken from textiles. I think that by adding a “grid-like” component into the mix it will act as a foil to the more organic imagery. I am not interested in working within a tight grid framework. As a matter of fact Fred Flinstone and Barney Rubble would have to approve
July 21, 2011 § Leave a comment
Here in the office, we have received (“we” being me and my assistant) a number of inquiries of the very general question, “Where is this all going?” Here are a couple of CAD drawings from the original proposal. My vision for the subway floors was to create original monumental drawings that commuters could walk on. In spite of being somewhat of a technophobe as mentioned in earlier posts, after months of research I discovered a digital process that would “almost” allow me to do this…… more about this soon.
For the past several weeks I have been posting images from the original drawings made in my studio. I will continue to do this as this is the phase i am currently in . The next steps will include “fancy” scanning and translation. I will be sharing more about this as I go through it myself.
July 18, 2011 § Leave a comment
This is the beginning of the under painting for vestibule three. I will post sections from the drawings as they progress. I have roughed in and enlarged part of an image that I appropriated from a paint-by-number’s kit of Van gogh’s “Sunflowers.” I first took the actual printed cardboard from the kit, then scanned and projected the image onto large sheets of frosted mylar. For this project I have relied heavily on a digital projector as a way to initiate the drawings..
July 16, 2011 § Leave a comment
This is the completed drawing for the first vestibule. In addition, this week I will present a couple of my proposal drawings with the elevation plans so that you will be better able to visualize what the installation will “hopefully” look like. I am currently working on the third vestibule drawing, and will present up-dates over the course of the next two weeks. Stay Tuned!
July 12, 2011 § 1 Comment
This is an overview of the entire Vestibule #2 Drawing. It took me a month to complete this piece. I am finally satisfied with the results.
Today I put up the paper for the third 13′ drawing. I need to sprint to the finish line with this one. Time is of the essence. I know in my gut that, I can do this; however, the overriding question is how can I gracefully achieve this? Is it possible that I can remind myself each day that I have already won and that it is only a matter of “me catching up with me?” This is one of my biggest questions…..and not only in the studio.
July 9, 2011 § Leave a comment
This detail is the far right right corner of the second vestibule drawing. It has been important to me that I make many individual sections from within the larger compositions work on their own. Maybe there will be a way to extend the life of the drawings into digital compositions that i can work back into? I must admit that there are times when i get seduced by some of the smaller sections. When I was a young student at Carnegie-Mellon University, I saw a painting of Larry Poons, it had orange and blue dots, and I have never forgotten it. I finally have been able to pay a distant homage to the painting by combining this hot orange with the blue surrounding area. On top of the hot orange circle I laid a piece of frosted mylar that I cut holes into and then painted both sides with complementary colors. An interesting tid-bit……Gouache is really lovely to work with on frosted mylar. You can continuously over-paint and erase because it isn’t permanent. It bleeds and blends like liquid chalk.
July 6, 2011 § Leave a comment
I work on frosted mylar. I really love it because of it’s translucency. As a result I am able to work on both sides of the paper to achieve a greater sense of depth in the surfaces. On some of the layers I use a hot cutter to cut lace-like patterns that I attach to the underneath surfaces. I desire a sense of unity within each composition; however, I also want to create a bit of a disconnect between some of the passages. To create physical depth I work in layers. I am constructing a sort of abstracted map…..a puzzling together of various islands of imagery. It has taken me five weeks to get to a point where I am not constantly arranging and rearranging the parts. It is a pleasure to walk into the studio and know that I have successfully taken the leap to the other side……….of what you might ask? Elizabeth Murray said that “art is made in the gap between where you are and where you want to be.” http://www.youtube.com/watch?v=Yxl2WAR3-QE