FINAL ACID TEST 2015

#1504 (Final Acid Test), Ink and watercolor suspended in polyvinyl resin glue on wood panel, 36" x 36"

acid test - a decisive or critical test, as of worth or quality

The first large piece (36" x 36") of the season is the final acid test, which combines the best of the new formulas with older formulas that are still active (see extinct formulas).
The hierarchy of cell size is based on the natural spread strength of the expansion events themselves.
This piece will remain on the studio wall through the rest of the season as a reference for planning future experiments.

(Click on image to enlarge)

THE ACID TEST 2015

The 2015 glue season begins with tests of new color media combined into notated formulas.
A few examples (wet):

After about 500 tests, the most promising results are compiled.

The formula notations are plugged into a design grid for reference. This will be the plan for the acid test.

Finally, the formulas are dropped on a permanent glue bed for the first time. This is the acid test, where the formulas will prove their mettle, designated "#1501" - first two digits reference the season year, second two digits the consecutive order of completion. Dimensions 24" x 24". (click to enlarge)

The 2015 season begins.

The English Room Interview

http://www.theenglishroom.biz/2014/12/01/artist-spotlight-series-william-loveless/

CONCENTRIC STRATEGY

#1420 (Concentric Strategy), 36" x 36", Ink and watercolor suspended in polyvinyl resin glue on wood panel. SOLD

#1419 (Concentric Strategy), 24" x 24". At FRESH PAINT ART, Culver City, CA.

Analogous hue groups of varying cell sizes orbit a central point.

RADIAL/CONCENTRIC HYBRID

#1418, 24" x 24", Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel

In a variation of the Radial Strategy, a circular pattern of cells is added for the first time.
Though it appears simple, creating a template for a circular arrangement of evenly-spaced cells was an unanticipated geometrical challenge in the planning stage.
Once mastered, it begged to be expanded - - but that's a story for next time....

NEXT:  The Concentric Strategy (Grand Finale, Season 2014)

RADIALS

#1412 (Radial Strategy 1), 36" x 36", Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel. At FRESH PAINT ART, Culver City, CA. - SOLD

This strategy synthesizes variable scale and symmetry into a new approach that emphasizes dramatic stepping from center to periphery.

Various color criteria are explored within each format.

The theme of expansion is finally given play in the arrangement of cells itself, with microcosmic suggestions of molecular structure and macrocosmic suggestions of "Big Bang" cosmology.

.....And within this effusive pattern, a reminder of the joy of existence.

Radical new possibilities are opening up.

(Above) #1414 (Warm Radial), 36" x 36". At Michael Warren Contemporary, Denver, CO.

(Above) #1417 (Cool Radial), 36" x 36". - SOLD

Please click on images to enlarge.

SYMMETRIC VARIABLES

Arranging the variable grid (see previous post) in a symmetrical structure gives prominence to the larger expansion events and creates a hierarchy of of emphasis, with a kind of rippling echo effect from the center out.

Overall, this can be seen as something of a return to a more predictable grid, but with an important difference - it allows the "shepherding" of the viewer's attention along individual rows of cells.
Groups are now functioning as vertical columns, with hues changing gradually as they move up and down.

It also suggests the idea that a glue painting can have a "center". which presents a whole new realm of possibilities for inspiration....

NEXT: "Radials"

Please click on images to enlarge.

THE VARIABLE GRID

William Loveless, #1405, Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel, 24"h x 36"w.

Early in the 2014 season, with new formulas identified, I begin work on the grid design itself.

For many seasons now, I've had a vague desire to diversify the grid format somehow - to allow more flexibility and make it more visually dynamic while retaining its research integrity.

I found that by dividing the format into alternating zones of measurement I could create a kind of visual counterpoint of scale, an optical analogue of musical counterpoint.

Expansion events could now be large, medium, and small and spaced accordingly - a more "punctuated" approach - - and a complex design challenge in itself -  a kind of puzzle in which all parts must fit and balance.

 William Loveless, #1404, Ink and watercolor suspended in polyvinyl resin glue on cradled wood pane, 12"h x 46"w. Painting at top (#1405) is SOLD.

As of this writing, these paintings are available through Fresh Paint Art, Culver City, CA. Painting at top (#1405) is SOLD.

Click on images to enlarge.