Veiled, shrouded, wrapped, woven works
These paintings traverse series, but are connected by being wrapped in stainless steel, aluminum, monofilament or sinew.
The wrapping makes gaps, giving glimpses of the images, colors, patterns, textures, burnt surfaces or mixed media collage below. Due to the textural effect of the wire, it cast shadows, but also reflects light differently from many angles which both occult the work. Sometimes so brightly that colors on the substrate below the wire are hard to discern.
48 x 36, acrylic, wire, mixed media on wood
The wrapping is linear, but with errant or oblique lines trailing off and throughout the work. Though wrapped in metal, the works have an intentionally hand-crafted feel… like a weaver working on a space station.
The ‘veiling’ of the work adds an unknowable quality to the work. A painting encased in a chrysalis, with mysterious things occurring out of sight. Potentials and transformations coming…
The first work is a palimpsest of four series: a linear mandala, surfaced in mirror reflected tape used in the laser palimpsest seires, then wrapped in aluminum, then painted in the shift/drift series manner. The work below that is a linear mandala wrapped in wire and also spray painted, but more calligraphically.
“Paracarta”, the third work down, crosses into the palimpsest, origami’d, and map/information series. It uses 60,000″ of stainless steel wire, which conceals layered ancient Chinese maps, a Greek city ‘blueprint’; a weathered papyrus treasure map; Inuit coast-line recognition carvings; Polynesian ocean wave-pattern maps (the cursive underthreading pattern, see detail here.) The bends in the substrate are based on compass navigation lines.
“The Gate They Ver”, the next work down, is a magpie of a painting: wrapped collage made of magazine slices, lenticulars, various holographic foils, tinfoil, Swarovski crystals, fingernail polish and sequins, maker, graphite, crayon, and paint. (And probably some other stuff). It’s also made of nothing: there are holes drilled into the aluminum substrate, which only reveal if the painting is backlit at night.
The next work was done for a yacht. Much of my work changes appearance as the viewer moves; it was very interesting to work on a piece where it’s the room that moves…
Below that are various smaller works also crossing over into other series, including one copper work, which is meant to change color over time as it oxidizes and gets polished back by curious touchers.
36 x 24′, acrylic on wire on aluminum
36 x 24″ stainless steel, oilstick, on aluminum
47 x 32 x 5″, wire, mixed media on aluminum
48 x 24″ stainles steel wire, acrylic on wood
all above 11 x 14″, wire, acrylic, on wood