Saturday, June 2, 2012
This piece will function as a key for reference during the 2012 season as more compositions are planned from these formulas.
This is also a test of the new "color block" strategy for composition, in which related hues are grouped together on the grid.
First glue painting of 2012.
#1201 (Color Block Strategy), 24"h x 18"w. Ink and watercolor suspended in polyvinyl resin glue.
(Click on image to enlarge)
Thursday, March 22, 2012
#1119, (77 formulas) 24"h x 36"w
This is the piece I was looking forward to all season - a showcase for all 77 formulas discovered during the 2011 season, arranged in order of discovery horizontally from top left to bottom right.
I average about one successful find for every dozen tests, so this represents quite alot of research - and it is gratifying to see them all arranged together like this.
Since cataloging seems to have been the theme of the season, this will stand as the 2011 magnum opus.
I really would've liked to keep this one for myself, but it's already out of my hands. Letting go of these pieces is sometimes difficult for me, but that's a subject for another blog altogether.
(Click on image to enlarge.)
Saturday, March 17, 2012
#1117, 10" x 10"
The smaller the piece, and the fewer the color cells, the more important the color relationships become. Such a compact and concentrated statement is an excellent opportunity to construct the visual equivalent of a musical harmony, or "chord."
I was seeking a cool overall psychological color temperature here as well, keeping to an analogous (closely related) color range between green and deep blue.
But the process is about pattern as well as color, so hopefully the variety of expansive patterns allows the eye to linger in fascination within an otherwise calm oasis of harmony.
Wednesday, March 14, 2012
#1116, Resonance Strategy (60 x 2 +1), 36" x 36".
Largest piece of 2011, combining the (now) 60 formulas discovered thus far this season. This is a "resonance strategy" work, meaning that unity is suggested by repeating each formula somewhere else at a distant point in the composition (11 rows x 11 rows = 121 cells, so 60 formulas doubled make 120, with one formula that doesn't repeat).
If one takes the time to really look, it's interesting to choose one cell and then search the field to find its "twin." (click to enlarge)
Monday, March 12, 2012
#1115, 14" x 14"
Sometimes creativity is a matter of thinking "I wonder what will happen if I..."- and in this case - "...combine all the warm formulas in one piece."
Once again it was a matter of cataloging - selective cataloging here - choosing only the warm formulas discovered thus far in the season and running them down from left to right in order of discovery.
This unity of purpose provides a unity of expression to the eye, and despite its clinical origin, altogether it appears to harmonize into a focused "statement."
Thursday, March 8, 2012
#1105 - Diptych Commission.
Created at the request of a collector in Orange County, CA.
She chose several of the formulas that she wanted and left the rest to me, based on her pattern and color preferences. Each component 9"x 12", the arrangement determined by the dimensions of the space she wanted to fill. Scale and proximity inviting intimacy.
(Click to enlarge.)
Monday, March 5, 2012
#1104 - 24"h x 18"w.
Here I continue to catalog successful formulas (the best results culled from hundreds of tests).
Each formula is notated with a number for reference, and this piece, along with #1101 (posted earlier) will serve as a "key" for future pieces through the 2011 season.
It is a purely practical exercise - with successive formulas running down vertically from left to right without regard for the appearance of the overall composition - so that the relationships within the totality are actually random.
Sometimes I like to be surprised.
Friday, March 2, 2012
One of my favorite "single dot" pieces of 2011. Successful deep blue/purple formulas are rare - and the complexity of this particular expansion event has yet to be repeated. Such is the mercurial nature of my endeavors in this process.
I allow myself the luxury of keeping a few special pieces for myself each glue season (may-november) and this is one of them. (Click to enlarge.)
Thursday, March 1, 2012
A demonstration of the flexibility of single-dot and small multi-dot pieces when combined in a dynamic arrangement. My thanks to Helene Brown and her talented crew for this spectacular installation.