Saturday, April 29, 2006
Surface and Volume
This was completed today — the main feature being the density of overlapping black lines. While the photo doesn’t capture it, the black acrylic ink overlaps on top of itself beautifully, generating a wide range of velvety blacks. I felt that the collage in the last post was creating hollow spaces, so I wanted the volume of this one to be coming forward.
posted by cjagers at 11:18pm
2 Comments Add your own
1. Steven LaRose | April 30th, 2006 at 12:57 am
Is there a way that you can get on top of a detail and take a picture of the “velvety blacks”?
I find myself turning my head CW and CCW and wondering. . .Do your images always have a top? Or, when you make these are you dancing around the edges? That is to say “do you work down?” In theater, on the west coast, we’ve had the real estate luxury of working down. I’ve painted 100 foot drops on the floor with brushes on bamboo poles. It taught me that the mark made more difference than the intended, viewed, result. This is a very different sensibility from the east coast scenic artists who painst on these amazing devices that move the muslin/canvas up and down, elevator style. The painter stands on one level and the image scrolls through floors of the building. To some people, there is always a “top”. I have no judgement regarding this question. . . and yet, if this image was turned CCW 90 degrees I would like it less.
2. cjagers | April 30th, 2006 at 10:25 am
Good question. I start with a very general idea of what I want ( I have an idea of up). But the paper is horizontal throughout the process, whether this is printing, cutting, pasting, or drawing. So, yes - I often spin the paper, work around the paper, and change my mind many times in regards to it having a top. When I find resolution however, I am firm about which side is top. I will work on getting some details.
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