I had a terrific time at the opening of Disparate Sources, organized by Chelsea Dean at Keystone Art Space, where I presented a new triptych.
My art practice has slowed down in the last year with graduate school, the production of FULL BLEDE, and working (at Charlie James Gallery). Being asked to participate in the the show was a great impetus to get back to my cutting mat.
It also was an opportunity to experiment with my means of production. I created the collages with self-imposed "restrictions," as I always do. This time it meant using cuts from a single issue of a vintage magazine: April 1970 issue of SHOW. Once the collages were conceived, however, I did not glue down the cuts. Instead I photographed them for reference on my iPhone and then my photographer friend Mark Harvey professionally photographed the individual pieces. We isolated them in Photoshop and then I recreated the analog works digitally, mimicking the arrangements exactly by referencing my iPhone captures. Once the collages were created I placed them on confection-inspired pastel backgrounds. The digital files were then printed using archival ink on special paper. The three resulting prints are unique—they are not editioned.
As an analog collagist it was a big shift for me to work this way. And I'm thrilled with the results. I'm looking forward to more experimentations like this—mixing analog and digital methodologies in creating works.
Approbation (Show, April 1970), 2018
Adulation (Show, April 1970), 2017
Commendation (Show, April 1970), 2017
unique archival pigment print 11 x 14 inches sheet size (each)
available: email me at firstname.lastname@example.org