Transfers can be tricky

As most collagists know, transfers can be tricky. Positioning is perhaps the trickiest part (with incomplete "erasure" of paper, and ghosting a concern too). Last night, with a little skill and a little luck (gotta have some luck), I was able to accomplish one of my best transfers ever. I was trying to get the skull part of this element to line up with the yellow petals of the pansy. I was successful with that goal. I didn't realize the flower petal was going to look so good as a "brain" within the cranium. And I was "rewarded" (luck!) with some very nice additional alignments. One part of the underlying element ended-up looking like a heart; and other parts lined-up beautifully with aspects of the skeleton. I'm pretty excited about the way this came together, and will probably not do anything more -- I don't think it needs anything more. A beautiful two-element transfer collage.

busy sketching

 I haven't posted in a while, but I have been busy in the studio. My time lately has been spent looking through magazines for interesting elements and doing some sketching (exploration and experimentation). I have one piece that is nearing completion, and several pieces which are still "emerging". Here are a few of the works in progress (which may or may not end-up ultimately being created and "put done" on the substrate).

Two elements

Once again, for this piece, I was compelled by collage "minimalism -- a two-element collage. When I am exploring/experimenting I "let" the combinations of elements guide me. Once in a while, the combination of only two elements is compelling enough for me to think that nothing else is needed. It is true that I sometimes think that a viewer (or juror) might "want more" in a collage. But adding more elements, simply because it seems necessary, just doesn't seem reason enough. When I placed these two elements together the other night, I was struck by the way they interacted with each other. I "recognized" that it was enough, for me, to create what I think is a beautiful and compelling composition. I need to point out the essential importance of "proper" placement of each element, when you are using just two elements. SO here is the finished piece. I really like it, and I hope that others do too. It is entitled, "She enjoyed the warmth, but found the conversation boring"

Subliminal influence?

Here's another experimental sketch I worked on this week. I had a bunch of interesting green elements leftover from a number of previous projects. I thought I would just try something a little different, for me -- more abstract than surreal or narrative. I really like the different greens together. And I always like a slash of contrast (the red, in this case). Interestingly, when I got into my office the following day, I was struck by the similarity between my sketch and the cover of the textbook I use for my statistics class (I will provide the name of the cover art artist as a edit to this post). I had no intention of trying to emulate the cover of my stats book with the sketch. And I am not even convince that it influenced me explicitly. But maybe deep-down in my subconscious, the image influenced my sketch. Or perhaps, it was a "great minds think alike" kind of a thing (although I would consider it more of a "artists think alike" phenomenon). It does raise an interesting issue regarding the influence of a lifetime of exposure to visual stimuli. Do all of these experiences get "stored" somewhere in memory? Do all of these experiences have the potential to influence artistic exploration and production? I think that perhaps more likely, is that the total accumulation of life sensorial experiences help shape our potential to create new, integrative, synthetic compositions/images. This "coincidence" I found particularly noteworthy.

new sketch

I have been working on finishing-up some sketches (i.e., completing the composition) and on some new sketches. Here's a new one from last night. The saturated colors in this vintage artwork of a motor I find quite compelling. I think the sculptural elements fits well (I need to do more micro-cutting, of course). What I am "struggling with", at this point, is what to do with the textual part of the background element. If I leave it as it is, I think the balance of the overall composition will need some work (i.e., adding other small elements)... I think. I was also contemplating leaving the overall composition a bit "unbalanced" to create interest/tension (i.e., "does a composition always need to be 'balance'"?). I could also obscure the writing/text with another element. The element shown here is certainly too big; it is just an example. Of course, that creates its own balance issues for the overall composition. I will continue to enjoy experimenting with elements and the overall composition, and of course, will eventually post the finished piece.

Shadow and light

At one point while I was working on sketches in the studio last night, I noticed a weird effect within my shadow. This has GOT to be one of the weirdest photos I have ever taken! It's a "selfie" of my shadow. BUT... it is disrupted by the light that refracted through the lens of my glasses. This image is "raw"; that is, there is no manipulation. Weird.

"Venn: Creative Intersections" at Kirkland Arts Center (Clinton, NY)

The opening reception for "Venn: Creative Intersections" was yesterday afternoon. It was a wonderful event! We ended-up selling 10 pieces (out of 40). It's nice reinforcement for the creative endeavors we pursue. Much appreciated.

backside

As part of my activities last night in the studio, I was microcutting this element and at one point turned it over. It's an interesting look. Something all collagists should consider (i.e., "what does the back side of this element look like"). Especially with such an identifiable image.

 

sketch variations

After teaching two classes, putting up the labels on the artwork for the Venn exhibit, and golfing yesterday, I spent some quality time in the studio last night. I worked on a couple variations of a sketch, and thought these constituted a good example of how somewhat subtle changes in compositional elements can result in quite a different "feel" for a composition. Here are three variations of the sketch from last night. I'm still not sure which I prefer; although I'm leaning toward the one with both the red curtain and the green "valance". I think it gives more "stability" (balance) to the overall composition, and gives it a theatrical look.

Venn: Creative Intersections

Anyone who follows this blog regularly would have noticed a lull in my posting recently. For the past two weeks, I have been busy with this three things: golf; prep for the school year; and lots of the necessary "business" tasks related to putting together an exhibition. As some of you know, once the artwork is completed (and selected), it all needs to be properly matted, framed and wired... and signed (I try to keep up with this as I complete my pieces, but inevitably have to catch-up in the eleventh hour). In addition to those tasks, titles, years, and prices need to submitted, so the venue can make labels. These tasks are magnified when a collaborative exhibit like this one occurs. But all the work pays off, when you see the show "hung". Here's a sneak peek of the exhibit at Kirkland Arts Center in Clinton, NY (a total of 46 pieces!) after being hung yesterday. Of course, I will probably post photos of the opening reception (which is on Sept. 7th) as well.

Specht/Thompson collaborative piece

This afternoon, I finished this collaborative piece for our upcoming exhibition at The Kirkland Arts Center (Clinton, NY, near Utica, NY), which will feature collaborations between three artists (Tony Thompson, Toeny Morgan, and yours truly). For this one, I created a collage, on which Tony Thompson painted. But then because of some spacing issues, I also added the gold scroll border to the piece, afterward. 

Green Onion check presenter

I am a regular patron of a wonderful pub in Utica, NY called "The Green Onion". It's a great place to engage in interesting conversations (and drink good beer) partly because they do NOT have a television in the establishment. The patrons are a diverse group of old and young folks, professors, artists, musicians and folks from all walks of life. They feature artwork by many local artists, including one of my collages. Several years ago, I collaged their beer flight holders. Recently, I have collaged one of the check presenters (small clipboards) for them (gratis, of course). Here is a second check presenter that I collaged and gave to them yesterday (in response to which, they gave me a free beer!).

"ALLMI"

I will be getting this piece "professionally" photographed next week; but I just couldn't resist sharing this "less than professional" photo of the finished product. The piece was inspired by generative AI. The title is a combination of "AI" and "LLM". 

The "head" component of "the project"...

... is now complete. The "body" will be finished this week.

Coming along... update on "the project"

 This component is coming along (slowly, but surely). I am hoping to finish the words today. Each word or phrase has been "hand-selected" because of some kind of meaning or resonance with me or the loose theme of this project (I will explain more once finished).

time

This is taking WAY more time than I had anticipated (for good reason). It's part of a bigger project that I will be posting about in the next couple weeks.

 

serendipitous collage

While I was coating elements last night, I came to the end of the newspaper I had been using. As has happened before, when I ripped up the last page, I was struck by the "accidental collage" that remained. Even though collages like this are not in my style, I love them (btw, I have tried to deliberatively make collages like this... but have been unsuccessful). 

new sketch and decisions

I'm still working away on the red assemblage. It has become a bigger project than I had initially anticipated (and that's cool). But, of course, I am always working on multiple projects simultaneously. Here is a sketch that is coming together nicely. I am at a point of near completion and need to make some decisions about what will be the finished composition. The primary decision is whether to include the maroon element or not (see below). I really like both options -- but each option creates a quite different "vibe" for the piece. Without the maroon element, the composition is subtler. In fact, some viewers might think that there is not an additional element in the space. With the maroon element, I think the composition is more dramatic (and perhaps more balanced?). It's interesting... if I was creating the piece only for fellow collagists, I might omit the maroon; but for the general viewer, my inclination is to include the maroon element (I'll probably decide this evening). Another decision I will consider relates to the green elements. These green elements were placed to cover text on the upper and lower edges of the base element; so that it fits a standard 5" x 7" mat. I can always get a mat cut slightly smaller and forego the green elements. I need to decide whether these two elements are a positive addition to the overall composition. A third decision relates to framing. I typically used frames without much "texture" -- my preference is for square metal, or blond wood, framing. But last night, I happened to look over at an "ornate" frame that I had gotten in a box at some garage sale or auction. I placed it over the sketch and really liked the way it looked with the composition. It was golden metallic color originally; but I decided to paint it metallic gray/black. I am pretty sure that I will use this "atypical" frame for this piece, no matter what my other decisions are.

Summer time

I separated the words in the title, because I am alluding to the way I spend my time in the summer. I am an avid golfer (even though I'm not a very good player) and spend LOTS of time on the golf course. Maybe too much time, given everything else that I would like to do. Anyway, today was a washout day for golf (rain and thunderstorms), so of course, I spent the day in my studio. Here are a couple "teaser" photos of the project I'm enjoying working on lately. I haven't done a 3D assemblage in a while. I really like the way things are going thus far.

follow-up

As a follow-up to the last post, I thought I'd share something that I think definitely did NOT work. I made a cut along the boundaries of what seemed like a reasonable spot to insert another element into the two-element piece. I also thought that perhaps this image of a "bleeding heart" plant might work. Upon placing the element, it became clear that it wouldn't work... for three reasons. First of all, the color does not work, with the dark blue and red of the blood vessels in the substrate element. Secondly, the flower doesn't seem to be integrated at all with the rest of the image, and seems "disproportionate" in its position, relative to the eyes. Thirdly, the flower element also is too "forward". SO... it's back to the drawing board of experimentation (with the idea in the back of my mind that perhaps I should've let it be a "simple" two-element collage).

Once again... the question of two elements

 Whilst experimenting in my studio the other night, I put together two elements that created, what I think, is a compelling composition with only two elements. Even though I am generally pretty liberal, in terms of not judging my work too harshly (other than when it comes to design detail and execution), I found myself considering a nagging question... "is this 'enough'"? I could certainly argue that two elements are enough for a collage, especially when the resulting image is striking. And I could also argue that 'chance favors a prepared mind' (Pasteur), and that I had just the right elements, at just the right time, to make such a two-element collage "work". The eyes of the underlying element shown below "happen" to fit perfectly into the negative space (i.e., the holes created by the overlying element). And the 'emotion' in the eyes seem perfectly suited for this piece. But then again, how would a viewer respond? How would a fellow artist (collage artist or other) respond to the work? I suppose I could say, "who cares?". But I think, as artists, we all care, at some level (perhaps some more than others). The 'jury is still out' with this piece. I happen to love it just like this; although I could see me doing a bit more exploring, and being open to additional elements. There certainly is another dominant part of the piece ripe for negative space exploitation. But maybe it's 'good to go'. I will have to see what emerges. Stay tuned ;-)

Vartan Poghosian - Outre exhibit

Yesterday evening, I had the distinct pleasure to attend the opening reception for Vartan Poghosian's exhibit at The Mohawk Valley Center for the Arts (in Little Falls, NY). The exhibit is simply phenomenal! Such beautiful and intricate pottery works. If any of the readers of this blog are within an hour (or two) of the venue, it is definitely worth the trip to see this body of works. Although not collage-related per se, I hope you enjoy these images. And as most of you know, this blog is also about the complexities of creative experiences. When Vartan gave a short artist's talk about his exhibit, it was very interesting to hear about some of the inspiration for these pieces. Vartan had traveled to Europe and had rented studio space outside of Brussels for a couple weeks to get some work done. He had expressed some disappointment about not getting ANY work done in that studio space, and instead enjoying the local cheese and beer, and using that space as a hub to travel to other parts of Europe to enjoy the broad cultural and visual experiences. I couldn't help think to myself, "but in a way, he WAS working on his art". I thought that because our creative output emerges out of our experiences in life. I don't believe that we could create like we do, without our experiences in the world. Vartan continued to say that, upon his return from Europe, he felt motivated -- in fact, compelled -- to create a body of work inspired by his travels. Sometimes as artists, we fall into the trap of thinking that only pieces of art represent "productivity". But I would contend that "productivity" is reliant on continued experiences in the world that serve to inspire us in our creative journeys. Was Vartan's studio space in Brussels a waste of money? Perhaps in retrospect (the road to hell is paved with good intention). But he shouldn't feel badly about it, at all. The experiences he had on his trip still resulted in artistic "production"... and that was the goal. Bravo Vartan!