Bits of Resolve I, 2017
Archival Inkjet Print on Canvas
54 x 54 inches, edition of 3
Quadrataflux III, 2016
Quadrataflux III, 2016
Epson Ultrachrome Print on Cotton Rag
53.5 x 44 inches, edition of 3
Look Inside: Artwork 010b-2016
Evie Zimmer, an artist whose work I admire greatly, has been sharing pictures of the progression of a painting. The creative duo, Laura and Gary Dumm, have also been sharing the progress of paintings in a amazing series they are making. Wonderful to get an inside look at the making of an artwork.Wonderful to get an inside look at the making of an artwork. And I thought perhaps I could give a look inside my work. So in that spirit I created this post.
Here’s a screenshot of what I’m working on currently. It’s organized on a grid. Columns are designated with numbers; rows with letters. There are 14 columns and 14 rows for a total of 196 units. With this, every unit can be located. Each unit has two colors; a light color contrasted by a dark color. Units have a titled square with the tilt alternating between units from 60 degrees to 30 degrees. Between contiguous units, dark colors always abut against light colors. I don’t have a title yet but it’s photoshop file name is 010b_2016.psd
screenshot
click on image to enlarge
screen shot – layers
Printing Gradatio Vectes
For me, my art is never fully realized until it is rendered on a substrate. It resides as a digital computer file, only readable by a computer and software that can decode the file. So when I print an artwork for the first time, it’s like a birth. It can then be hung on a wall and experienced the way I envisioned it being experienced; a tangible object, instead of an image on a computer monitor. For the work Gradatio Vectes (Gradation of Bars in Latin), I’ve rendered it on a new paper (Pura Velvet 100% Cotton Rag Textured Fine Art Paper by Breathing Color) I’m beginning to use that exceeds archival permanence more than any other because it’s the first to achieve the same color gamut (color intensity) without having Optical Brightener Additives (OBA’s) added to the surface of the paper as a receptive coating. It’s been tested with Epson Ultrachrome Inks and exceeds the standards set by The Fine Art Trade Guild’s (FATG) for archival digital Prints. Optical brightener additives are bleaching agents that make fine art cotton rag papers used for digital printing more white. The whiter the paper, the better the color rendering. The problem with OBA’s is they are sensitive to UV and will yellow over time. I’m so pleased with the result of my first print on this paper. The colors are so vibrant.
Gradatio Vectes being printed on an Epson Stylus Pro 9600 aqueous pigment printer with Epson Ultrachrome Ink on Pura Velvet cotton rag textured fine art paper made by Breathing Color.
Gradatio Vectes, 2015
Epson Ultrachrome Print on Pura Velvet Cotton Rag
Edition of 3, 50 x 44 inches