Tuesday, January 20, 2015
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....
Please click on images to enlarge.
Tuesday, January 13, 2015
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.