ADDING SUBTRACTION (On the Benefits of Absence)

#1302, 24" x 24", Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel

After testing a full grid of new formulas (#1301, previous post) my usual procedure is to weed out the weak results and replace them with new possibilities on another full grid. But an alternative priority entered my mind - - breaking the grid.

The grid is a function of the research process - - it allows orderly notation of the formulas for future reference. But it's also an essential element of the "meaning" of the work - - to lend a sense of order and rational categorization to a mysterious phenomenon (the self-determined expansion of the materials from the center of each liquid cell). A balance of order and chaos.

But the rigid square grid offers few possibilities for variation. Or does it?

The idea that came to me here was to simply subtract the less desirable formulas leaving arbitrary openings on the glue-bed surface. A vestige of the research grid remains intact but a new compositional balance emerges with variations that allow more complex relationships between the cells. Breathing room.

In what other ways can I break out of the square grid?

Next - The Hex Grid

THE ACID TEST - NEW FORMULAS 2013

#1301, 24" x 24", Ink and watercolor suspended in polyvinyl resin glue on cradled wood panel.

After hundreds of tests of new color combinations, the 49 most promising formulas were selected for the first "acid test" - application on a permanent glue bed. This piece will serve as a reference for the rest of the season, and will tell me whether more testing is necessary. Lackluster formulas will be weeded out and replaced, and under-represented hues will be noted and their number expanded through further testing.

There are promising results here. I like the variety of patterns - some scattered, some structured; some diffused, some dense. There's an overall impression of opening and closing across the grid, lending it a sequential feeling of animation and moving the eye. (click on image to enlarge)

I've already decided my modus operandi this season will be to let each piece suggest the next. This is the starting point.

Next - "Subtraction"

WET TESTS - Season 2013 begins

Who knew that art materials possessed their own talents? Given the freedom to choose their own providence they can astound with a grace and beauty that humbles the volition of even the most skilled artist's hand.
These are but a few examples of the surprises I find as I begin the season by testing new color media for my process - not by "pushing them around" (as artists are wont to do), but by gently introducing them to the center of a free liquid environment where they are allowed to expand according to their own self-determination.
They are pictured here in their liquid state; still in the process of expanding - a view that only I am usually privileged to see - before they dry and leave a permanent record of their mysterious and profound endeavor.

(Please click on the image to expand it for a detailed view.)

VIDEO - Glue Paintings 2012 - William Loveless

Video slideshow of 2012 glue paintings presented in order of creation.
It was a good season.

BUMPER CROP - 2012

Annual end-of-season studio photo, 2012.
35 multi-event paintings completed, ranging in size from 8" x 8" to 36" x 36".
About 200 single-event pieces completed as well, 3.5" square each.
Many still available through Fresh Paint Art in Culver City, CA and Studio One-11 in Palm Springs CA.

SCI-FI

#1233, 8" x 8". Ink and watercolor suspended in polyvinyl resin glue on wood.

Creating an arrangement of only 4 events is one of the most difficult compositional challenges since the relationship between them is so crucial. I'm especially fond of this one because of the dynamic color and pattern variety.
I often give pieces unofficial nicknames if they pop into my mind as I view them. In this case, "SCI-FI" seemed appropriate. It evokes something fantastic yet succinct - supernovas, moons, exploration - a universe in a small package.

Every season I try to keep a piece for myself that I especially enjoy because it sums up the innovations of the season and inspires future possibilities.
This is the "Keeper" of 2012.

LATE SEASON - THE FAR VIEW AND ITS CONSEQUENCES

#1230, 18" x 18". Ink and watercolor suspended in polyvinyl resin glue on wood.

You may notice this piece looks a little different. It represents what I consider to be a late-season breakthrough. Let me explain.

Making these things is mostly hard work involving intense concentration. The pleasure comes from looking at them afterward. And I look at them alot, sometimes with a very critical eye.
Late this season I became concerned about how, when viewed close-up, the individual expansion events look spectacular - but when viewed from far across the studio many just looked like filled-in dots of color (the events that expand all the way to the edge of the glue pool, what I call "fills").
To me, the events that remained distinctive shapes within the glue pool looked more interesting and dynamic from a distance. This seemed even more obvious to me when a studio visitor commented on the same thing (thanks, Vic).
So I resolved to try creating a piece composed entirely of "non-fills" - formulas known to retain distinctive shapes within their pools.
This piece represents the first attempt and may serve as a starting point when work resumes in Spring of 2013.

Currently in my possession for the pleasure of continual gazing.