Salvaged paper on PVC, second-hand Schaeffer's Blue-Black "writing fluid," and graphite, 24 × 40 in
Face mounted to 1/8” acrylic, aluminum back frame and z bar included
Meditations in Blue explores rendering as the tension between incompleteness and resolution. Blue-black ink layers thick brushtrokes over partially penciled figures, one absorbed in thought, the other in books. The unpredictable textures and stains become part of the process, embracing imperfection. The figures were chosen at random from hundreds of drawings and expositional studies, resisting polish and finality. This leaves space for ambiguity, reflecting the simultaneity of isolation and solace. Each unfinished line and smudge invites the viewer to make their own interpretive connections.
The work began with a misprinted photograph, turned on its face to be painted on the backside, mounted to salvaged PVC. The "writing fluid" used was a found object in Illinois, a gift from his aunt.
Salvaged paper on PVC, second-hand Schaeffer's Blue-Black "writing fluid," and graphite, 24 × 40 in
Face mounted to 1/8” acrylic, aluminum back frame and z bar included
Meditations in Blue explores rendering as the tension between incompleteness and resolution. Blue-black ink layers thick brushtrokes over partially penciled figures, one absorbed in thought, the other in books. The unpredictable textures and stains become part of the process, embracing imperfection. The figures were chosen at random from hundreds of drawings and expositional studies, resisting polish and finality. This leaves space for ambiguity, reflecting the simultaneity of isolation and solace. Each unfinished line and smudge invites the viewer to make their own interpretive connections.
The work began with a misprinted photograph, turned on its face to be painted on the backside, mounted to salvaged PVC. The "writing fluid" used was a found object in Illinois, a gift from his aunt.
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