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landscape arial 1 40 x 28.5
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Thank you so much for responding, and providing background into your process and imagery. It's always difficult to view the surface treatment, I feel, of collage on a computer monitor. While I can now see how the transparency is an illusion, the density of different kinds of marks beautifully causes some shapes to float in space. I wouldn't have guessed that a photograph was underlying it all, but the richness of the topography certainly becomes personal.
Thank you for your comments. The underlying image (as all the images on this site) is a photograph. I took this one from a plane and it is a boundary between the desert and farm land somewhere in California. The snake form is a river. It is a photograph printed on numerous sheets of paper that belonged to my father and is perhaps 80-85 years old. Everything on top of that is collage. painting, drawing and whatever else the image seems to call for. The transparency is an illusion.
On the other piece (part of the Oakland triptych) if from a BART station looking towards San Francisco. DEEP, LOVE LIFE and again DEEP were tags on the thick plexiglas that was a barrier between the riders and the street/community/bay. I loved the way those words hang in space, also the implied and literal meanings of the words.
This piece Landscape Aerial has a beautiful fluctuation between organized space and chaotic elements in terms of its overall design. I’m attracted to the numerous and small confetti like bits and pieces that divide and ultimately unite the background image. The gridded ground provides a continuous interplay as well between the circular geometric motifs against the organic configuration. The black snake-like shape in the bottom of the picture further plays as a mysterious focal element, echoing the segmentation of the adjacent vertical bar. I’m curious about the media used, as some of the shapes have a flat opacity while other sections appear semi-transparent. The similarly constructed work Landscape Oakland is sophisticated in its visual tension. The graphic word ‘Deep’ is broken up in an interesting way. The viewer at first reads the word as scrawled gesture before appreciating the articulated marks within the letter shapes which slow down the movement. It functions for me in the same way as the calligraphic black shape in the former piece; cutting through busy urban compartmentalization, and asserting a more dominant hand drawn mark.
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