short post

I know you are probably growing weary of this saga ;-)

But here is the finished piece (put down)...

ever evolving

 This compositional sketch seems to keep morphing. I think it is due to the strength of the central element (such a detailed and interesting etching from the late 19th Century).  Last night I think I came very close to the finished product. More cutting is needed on the left side; as well as some placement adjustments on the top of the composition.

More on processes and experimenting

 As I get closer to finishing a composition, I typically do a couple common processes. I often need to do some final micro-cutting of the edges of the pieces I will use. After that, I paint the edges of the elements (so as cover-up the white inner portion of the paper. This is also why some people mistaken my work as being digital). Here's an element from the piece I have been working on (and that I posted a sketch of previously). I'm showing the back of the element as well, to show you the neutral gray paint that I use to paint the edges. I don't need to be too careful about the messy strokes, because they can be easily wiped off the front, as long as the paint is not dry (even then, it's not too difficult to clean up the image).

Another "process" that I was involved with on this evening in the studio, was "extracting" an isolated image of a bird from the main element. Here is the fuller version of the element in which you can see the birds flying (middle, right)...

I decided that I would like to use the bird, but realized it probably wouldn't work by leaving it attached. So I simply cut it out. The power of using that bird, is not only to match the other birds in size; but moreimportantly, to match in gray scale patina (it should also contribute to the overall integration of the composition, when complete). But this bird is SMALL, and I didn't want to lose it (I've done that before with small elements... in my "busy" studio). So I made a special place for it on a piece of foam core, and decided to give myself instructions (I was cracking myself up)...

By the way, I also painted the edges of this bird with gray paint. Here's an image in which you see the extracted bird (before micro-cutting and edge painting):

I thought I was getting ready to finalize the piece. But once I had painted the edges of the central element, and let it dry, I started experimenting again with different background elements... even though I thought I decided on the blue (shown above).

So I'm in a bit of a quandary now. Space/stellar background is always a good look (although I may do it too much). Gives the composition great depth. But I'm really liking the green building element, and am leaning toward using that (and maybe stellar behind that!). I think any of these potential composition s would be good... but now I have to decide (and I really thought I was already done deciding). It's certainly fun to experiment; and that part of the process that I love. But I do have some desire to get this piece done and move on to another. On the other hand, what's the rush? There is no rush. This is one of the reasons it is difficult to answer the question, "How long does it take you to do a collage"? I love the exploration and experimentation. And I am pretty stubborn about avoiding just doing a piece to get it done. I need to feel confident that I have done an "excellent" composition (at least in my mind). So we'll see how this all turns out. I'm really not sure, at this point. Stay tuned ;-)

Table wrinkles

 Every once in a while, I will use a single-edged razor blade to scrape the surface of my studio table to smooth down the minute furrows and ridges that I have made by cutting on the plastic table while doing my creative compositions. Last night after doing so, I took a photograph of the surface and thought about how many hours and how many cuts (all very deliberate) the table held tactile witness to. And of course, there are just as many hours and cuts that were not executed on the surface of the table. I wasn't sure what to entitle this post -- I considered "table memories"-- but I thought "wrinkles" was the most appropriate. After all, can a table (an inanimate object) really have a "memory"? But just like wrinkles on our faces, and the scars on our skin are a cumulative record of events in time, the cut-lines on my studio table are by-products of so many hours of my creative journeys across the years -- some fresh, some faded. When I look at the table surface and contemplate, it elicits a "warm fuzzy" feeling of vague creative nostalgia, like seeing wrinkles on an old friend's face (or my own as I look in a mirror). 

Sketches

 I haven't been in the studio for a while after having a wonderfully successful solo exhibit at The Other Side (I was really hustling up to that point, as I was trying to get some "hot off the presses" pieces done for that event). Anyway, perhaps inspired by the art I enjoyed yesterday, I got back in my happy (and creative) space again last night. If you follow this blog, you have seen the start of the first piece (and it's almost "there" now). The other two were a couple of playful sketches, which may or may not materialize into anything e

More ART in UTICA (NY)!

Well, it was another wonderful art-filled Friday in the Utica area yesterday. My friend and fellow artist, David "RC" Oster was displaying a number of his hyper-intricate ink drawings, including his very impressive "Utica" piece, at the Tramontane Cafe.

Later in the day, was the opening reception at The Other Side for the wonderful exhibition of large-scale paintings by Everett Mayo, former professor at Munson-Williams-Proctor School of Art. The exhibit will continue until June 1st (on which day, there will be an artist's talk).

"Bite Sized Delight", Rome (NY) Art and Community Center

I have three collages in group show entitled, "Bite Sized Delight", a small format exhibit at the Rome Art and Community Center. Also featured in the show were a few local artist friends of mine, including "The Ordinary Walter", Vykky Ebner, Connie Avery, Karry Fuller Comfort