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.
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