16"X32"
acrylic, marker, and enamel on dibond
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| From July 25, 2011 |
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16"X16"
acrylic, marker on hardboard
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| From Neurotically Zen |
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Monday, July 25, 2011
No Match for Wishful Thinking, 2011 and Leviathan's Compass, 2011
No Match for Wishful Thinking, 2011
16"X32"
acrylic, marker, and enamel on dibond
Leviathan's Compass, 2011
16"X16"
acrylic, marker on hardboard
16"X32"
acrylic, marker, and enamel on dibond
16"X16"
acrylic, marker on hardboard
Sunday, July 17, 2011
Game Show, 2011
latex, acrylic, spray enamel, masking tape, and craft paper on dibond.
16" X 32"
This painting really came together by using the leftovers from the process of trying to complete it. When I started on the background, I wanted to use a drip that would move out in opposite directions, thereby creating two stages for the paint to perform. I started by laying a vertical mask 2/3s of the way into the panel, and poured paint into the mask in both directions, tilting to the right, to the left. By keeping the craft paper relatively flat and underneath the panel, I was able to capture the multiple layers of poured residual. After they dried, I cut the latex paint out from the craft paper, leaving about a 1/4'” around the marbleized biomorphic forms. They were so nice that I mounted some of the forms back onto the paintings.
I finished it with a few more translucent pours on the right side, this time from top to bottom, to give it more of a base, and then lightened the top with enamel. I also added a couple of pin stripes, using craft paper and enamel. You may also notice two blank dialogue bubble masks in the middle of the composition, which were left in at the last minute because I thought it made more sense of hold back an original intention. The empty dialogue bubbles have been a repeating motif in my work since I first moved to Elmira, NY after spending three years in South Korea. It's an evolving symbol for me over the past 4 years. In the past, it has represented language and cultural barriers, indifference, but in this case, by blending into the background, it objectifies and personifies the biomorphic forms as important players in this cosmic landscape.
16" X 32"
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| From Neurotically Zen |
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This painting really came together by using the leftovers from the process of trying to complete it. When I started on the background, I wanted to use a drip that would move out in opposite directions, thereby creating two stages for the paint to perform. I started by laying a vertical mask 2/3s of the way into the panel, and poured paint into the mask in both directions, tilting to the right, to the left. By keeping the craft paper relatively flat and underneath the panel, I was able to capture the multiple layers of poured residual. After they dried, I cut the latex paint out from the craft paper, leaving about a 1/4'” around the marbleized biomorphic forms. They were so nice that I mounted some of the forms back onto the paintings.
I finished it with a few more translucent pours on the right side, this time from top to bottom, to give it more of a base, and then lightened the top with enamel. I also added a couple of pin stripes, using craft paper and enamel. You may also notice two blank dialogue bubble masks in the middle of the composition, which were left in at the last minute because I thought it made more sense of hold back an original intention. The empty dialogue bubbles have been a repeating motif in my work since I first moved to Elmira, NY after spending three years in South Korea. It's an evolving symbol for me over the past 4 years. In the past, it has represented language and cultural barriers, indifference, but in this case, by blending into the background, it objectifies and personifies the biomorphic forms as important players in this cosmic landscape.
Friday, July 8, 2011
My Mondrian
This one was a lot of fun. The primary color scheme was initially planned, and as the painting developed, Superman emerged. When I realized this, I just kept moving forward, undeterred. What I'm really trying to say here is that Superman doesn't scare me. Its acrylic, spray enamel, and marker on finished hardboard.
Another thing to note about this painting is the scale. At 5"X5", the detail images of these paintings are magnified 3X.
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| From Neurotically Zen |
Another thing to note about this painting is the scale. At 5"X5", the detail images of these paintings are magnified 3X.
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Friday, July 1, 2011
Great day in the studio
This is a controlled paint spill on craft paper. I've got at least one more to do for a painting I am planing. I'll cut them out from the craft paper, leaving a 1/4 inch border around the edges, and use it as a stencil on the piece. It will be 16"X32" on aluminum dibond.
I've been meaning to get a collection of photos of my some of my favorite studios I've had in the past, but this will have to do for now. Here is a view of part of my current studio in Pasadena, CA.
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| From Neurotically Zen |
I've been meaning to get a collection of photos of my some of my favorite studios I've had in the past, but this will have to do for now. Here is a view of part of my current studio in Pasadena, CA.
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| From Neurotically Zen |
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