My static paintings have become intermixable like my recombinant panel works.
‘floSteppa’, the above piece, is a combination of 4 separate painting explorations: the top acrylic layer is from the shift/drift/glitch series; the 2nd layer is from the wrapped works; beneath that, from the reflective silver series (Ex.); and the bottom layer, from the minimalistic linear paintings.
All four series evolved completely separately over time. As I began to write this I thought of ‘floSteppa’ as a palimpsest (a manuscript that’s been scraped and overwritten many times to save parchment; sometimes, as revealed by x-ray, the centuries-later writings contradict the previous ones), maybe due to a painting being flat like paper. Now, though, I’m thinking gryphon. Something three-dimensional, or magically living — each series had existed in its own idea ecosystem, crossbreeding them was never a consideration (of course a lion and and an eagle wouldn’t mate) But then, with a bit of imagination, a ‘what if?’…
(Some synchronicity; I took a break from writing this post and glanced at my google analytics. Someone had just minutes before looked at this page: Metacollage, whose topic I couldn’t remember, so I re-read… and it’s exactly on this post’s theme, but only two layers deep instead of four.)
PS. Of course, the gryphon method could just be my musical compositional sense surfacing… like the song Music Is My DNA from my second album (Sonorous Susurrus). Or practically any of the songs I’ve released as Shinjuku Zulu or K.I.A.
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