Break Free, Then Break Free Again

I constantly feel like I’m working myself into a corner; defining exactly what I want my work to do or finding myself lost in a particular medium. The past week or so I’ve been working to examine some of my baggage.

Yesterday I taped a square in the center of my studio as a way to give myself permission. I set up a camera and entered the space, first shedding my backpack, then my laptop, and so on until I was undressed. I folded my belongings and arranged the objects into individual units. I sat with the baggage for a length of time until I was ready to clothe myself and leave the space.

In a way, that gesture is what I’ve been trying to accomplish with most of my work; to consider myself in the context of the people and the things around me. There’s a lot more to unpack with this. I subsequently turned screen shots of the video into screen prints, I’ll attach a few of them below.

-Paul

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Use Your Attention to Promote Love

Disclaimer: My ideas are developing and I’m okay with being more vulnerable as I work some things out in my life/art-practice.

I’ve had a productive week in thinking through some new developments in my work. I’m trying not to reduce my interests to just the digital world and think about the root of what I’d like to communicate.

Some of my recent prints and installations read as sarcastic or at least skeptical of the authenticity of digital communication (referencing spam, solicitations, and bots on Instagram). Creating things is the best way to work out ideas, so now looking at this new body of work I’ve been thinking “why does this even matter”? Why should someone care about inauthentic communication? I’ll come back to this question…

Taking a break from drawing, this week I’ve been screen-printing photographs of a friend. In fact, we made a ‘contract’ and for one week I take a photograph of him each time we cross paths (which is often since we both work in the printmaking shop at UConn). Here is the cover letter to the model release form and a few of the screen prints.

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I’m only a few days in but think that the whole message of the piece is somewhat disrespectful (I was trying to joke about social media but in a way the model is the brunt of the joke), that’s why I’m in the process of rewriting the cover letter to something more affirming. This piece is more about friendship and the people in my life that I appreciate.

That’s been a big revelation this week and I think I’m going to do a 180' with my direction. To make interactive work you need to create a safe environment, and this is even more true with social practice art (something which I’m starting to think about more seriously). Honestly having an art practice is such a demanding thing that I’d rather focus my energy on how I’d like to see the world around me rather than what isn’t working (at least when I’m working with other people).

This brings me back to my earlier question, why should someone care about inauthentic communication? Perhaps the answer is that I care about what is authentic and that the people in my life and the moments of meaningful connection are all that I really have.

Anyways, those are my sappy thoughts for today, thanks for listening.

Paul M

Final Thoughts on Undergrad

Regrettably it’s been almost a year since I’ve updated my blog. So much has changed since my last entry! I’ve since graduated from Lyme Academy and am now working on my terminal degree (MFA) from the University of Connecticut. I have much to share in the coming weeks but I wanted to focus this post on some of my explorations from the past year. Warning! These thoughts are developing and reflect a journey in my studio practice that is okay with unanswered questions. My practice feels like it’s continually falling apart and reconfiguring, researching and writing is a big part of that process. If anyone is reading this I hope it inspires you to write about your interests in a way that seems authentic to you.

Time Hotel (navigating digital illustration?)

When I last wrote to you I was working primarily in virtual reality (VR) on a project called Time Hotel. I laid out a few parameters before I embarked on my digital journey; I would create 12 VR spaces, the spaces would include data from a previous project (Time Cards), and the spaces would be composed of objects which were familiar to me.

The project started to take a life on it’s own and the VR spaced developed into fantasy (and more specifically science-fiction) environments. I ran into some roadblocks as I only have a topical understanding of gaming software (Unity, etc.), that being said, it is an exciting time when artists without a deep understanding of coding can create immersive digital experiences!

A New Direction

Now as a graduate student I’ve taken a break from my virtual studio and have primarily focused on printed media (printmaking) and creating physical installations. I may re-address some of my interests in VR soon but I’d like to spend more time focusing on the message of my work rather than a specific medium. Since VR is slightly inaccessible for group critiques, I’d rather focus on creating work that can be viewed by a group simultaneously.

My work has been focused on data; collecting it, reconfiguring it, obscuring it. Lately I’ve been thinking about misinformation (spam, malicious emails, forgeries, etc.) and capturing it in printed media. Authenticity and mediation is a word that has come up a lot during critiques. I’ll include some studio pictures from my most recent critique (two days ago). The work references blue (as a symbol for blue light?) and various screens (fabric and paper sheets) where messages can be hidden behind or where light can shine through. Here’s the gist of it:

  • The hand and the screen

  • Grids as the most familair form of mediation (digital content delivery systems)

  • Situations that change group dynamics

  • Data as media

  • What (or who) is behind the curtain?

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I’ll be writing much more frequently from here on out. What are your thoughts on the work?

Best,

Paul Michael

10/04/17 TIME HOTEL JULY

I'm making progress with my senior project, TIME HOTEL. I've completed the 1st of 12 virtual installations. Each installation is dedicated to a different month and this one relates to July. Here's a glimpse.

Each object relates to one "Time Card" created in July, I'm sticking to objects that are familiar to me, objects that I interact with regularly. 

An aspect of virtual reality that I enjoy is that it's conversational. To see the work, a viewer needs to enter into the studio space and receive a short tutorial about how to use the controllers to move through space. This can also be a barrier if the person is having difficulty using the controllers, that's why I've been creating scenes where the VR controllers are optional. Someone can see the scene in a 360 view without the controllers, if they feel engaged with it they can then ask for the controllers and move wherever they like.

I'm interested in hearing more feedback about this. I'll include a link to the drawing if you're able to check it out on Tilt Brush (or in VR). 

I'm also including a process video (because who doesn't love a process video?). I'll be uploading a lot of these in the following weeks with some tools and tricks that I've stumbled upon. 

Time to go back to work, more updates to come!

Paul.

09/14/17 TIME HOTEL BEGINS

Hi friends!

This semester is off to a good start. I'm excited because I was invited to give two lectures next month at an AR/VR symposium event at University of New Haven's main campus. I'll be blogging more as I start collecting my thoughts. If you have questions or comments there's a message thread at the bottom of the post. 

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MY INFLUENCES

I first started doing rule based art in the Spring of 2016. I was interested in the major figures of conceptual art like Sol LeWitt, On Kawara, and Mierele Laderman Ukeles. I'll briefly introduce them. 

Sol LeWitt

 Taken from Mass Moca website (http://massmoca.org/sol-lewitt/

Taken from Mass Moca website (http://massmoca.org/sol-lewitt/

 Taken from MOMA website (https://www.moma.org/calendar/exhibitions/305)

Taken from MOMA website (https://www.moma.org/calendar/exhibitions/305)

Sol Lewitt's art was a testament to community and collaboration. He would write rules for generating artwork that a team of artists would interpret and implement. LeWitt's artwork was the idea, the physical artwork was only a manifestation of the idea, and could be reinterpreted by other artists (as long as the same rules were followed). 

On Kawara

 Taken from Guggenheim website (https://www.guggenheim.org/exhibition/on-kawara-silence

Taken from Guggenheim website (https://www.guggenheim.org/exhibition/on-kawara-silence

 Taken from Guggenheim website (https://www.guggenheim.org/arts-curriculum/topic/postcards-i-got-up

Taken from Guggenheim website (https://www.guggenheim.org/arts-curriculum/topic/postcards-i-got-up

On Kawara was a Japanese artist living in NYC and well known for his Today series. For nearly 3,000 days, he carefully recorded each day by painting the date on canvas. Numeration and repetition are both essential parts of his work. On Kawara worked on numerous other time related projects, one where he sent out postcards to his contemporaries bearing daily facts like "I GOT UP AT..." or "I AM STILL ALIVE."

Mierle Laderman Ukeles

 Taken from TheCut.com (https://www.thecut.com/2016/09/mierle-laderman-ukeless-ode-to-nyc-sanitation-workers.html

Taken from TheCut.com (https://www.thecut.com/2016/09/mierle-laderman-ukeless-ode-to-nyc-sanitation-workers.html

 Taken from QueensMuseum.org (http://www.queensmuseum.org/events/opening-reception-3

Taken from QueensMuseum.org (http://www.queensmuseum.org/events/opening-reception-3

Mierle Laderman Ukeles is a NYC based artist who saw a division between what artists were trying to represent in their studios and their day-to-day tasks. Ukeles' saw every part of her daily routine as art and began documenting her tasks. In 1967 she wrote the Manifesto for Maintenance Art. She then went on to an ambitious project where she shook the hand of every sanitation worker in NYC, over 8,000 people, and performed a series of performance pieces. She has been a non-salaried worker at the sanitation department ever since. 


PREVIOUS WORK

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I created a repetitive system where I create a similar drawing each day. I called these drawings Time Cards and they were made using the following rules: 

  1. Within each 24 hour cycle (local time) a ‘time card’ is drawn.

  2. The card is prepared (torn from a larger sheet of paper) on the day it will be drawn on, using the previous day’s card as a template for size.

  3. A drawing session proceeds without interruption.

  4. Lines are drawn on to the card from top to bottom (in landscape orientation).

  5. The card is filled with drawn lines from left to right.

  6. The exact length of the drawing session is recorded in minutes and seconds (MM:SS).

  7. The time of day (start time and end time) is recorded in local time (HH:MM-HH:MM).

  8. After the conclusion of the session, the exact number of lines is counted.

  9. The cards data (start time, stop time, length of session, number of lines, and date) is recorded (in this order) on the back of the card in the upper right hand corner

The project ran from July 2016 to July of 2017. As I was working on this, I experimented with scale and site-specific projects at three of my college's campuses. I painted three murals with the intention of 'syncing' the three locations in the same 48 hours. 

 

 Lyme Academy College of Fine Arts. 10:30 AM - 12:45 PM. 2 hours 28 minutes 27 seconds. 287 lines. 08/04/2016 30"x148"

Lyme Academy College of Fine Arts. 10:30 AM - 12:45 PM. 2 hours 28 minutes 27 seconds. 287 lines. 08/04/2016 30"x148"

 University of New Haven, Orange Campus. 12:46 PM - 3:28 PM. 2 hours 41 minutes 49 seconds. 405 lines 08/05/2016 30"x225"

University of New Haven, Orange Campus. 12:46 PM - 3:28 PM. 2 hours 41 minutes 49 seconds. 405 lines 08/05/2016 30"x225"

 University of New Haven, Main Campus. 7:31 PM - 8:32 PM. 1 hours 0 minutes 5 seconds 178 lines. 08/05/2016 25"x96"

University of New Haven, Main Campus. 7:31 PM - 8:32 PM. 1 hours 0 minutes 5 seconds 178 lines. 08/05/2016 25"x96"

The rules were very similar to the Time Cards, each drawing was done in a single session and the data was recorded. The two colors in the paintings are the same value so each rectangle has a dull vibration.

At this point (Fall 2016) my work consisted of 2D drawings with repetitive line and its corresponding time data. It wasn't until the Spring of 2017 that I pushed into new mediums. 

 

 Shot before a studio performance. 

Shot before a studio performance. 

I realized that I was more interested in collecting data from small bursts of activity than drawing, so (other than the Time Cards) I stopped drawing completely and made a series of videos where I perform different activities on camera. I thought of each scene as a virtual space, where antiquated forms of technology are destroyed or re-purposed. Brooms and dust-pans became my brush and palette. (blog post 05/29/17 goes into more detail)

Seeing these videos through the lens of social media was important to the content. At this point I started working with sound and virtual reality. 


INTRO TO VIRTUAL REALITY (VR)

I make artwork in vr using two programs, Google Tilt Brush and Google Blocks. Tilt Brush a mix between painting and sculpting, where I create gestures in real space that translate into 3D paint gestures. 

 Example of my virtual palette. 

Example of my virtual palette. 

As you can see in the picture above with the spiral, the brushes create ribbon-like forms. This is important to remember when trying to create forms that have volume. 

 Example of creating forms. 

Example of creating forms. 

You really need to tilt your wrist to follow the form of whatever you're building to make it seem real. I guess that's why they call it Tilt Brush! Many people have asked me how to move in a drawing, it's similar to rowing in a wheel chair. 

A collection of drawings are available for VR view in the online Tilt Brush gallery, you can see more examples under the VR section (under the Artwork tab of my website). 

The other program I use is called Google Blocks. It's an easy way to create solid looking objects, and now, thanks to a recent update, it's possible to import objects made in Blocks to Tilt Brush. 

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TIME HOTEL

I've consolidated 365 days worth of Time Card data into a spreadsheet. I added the total number of seconds, total number of Instagram likes (I also know the average lines/likes per day). I'm using all of this data to create a set of immersive installations titled TIME HOTEL. I've started by sculpting furniture in Blocks, each object correlating to one Time Card. I like the idea of putting furniture and utilities in VR because they don't have a functional value anymore.

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After working with numbers and counting on such a regular basis, I started to discover that I'm probably on the spectrum of color/number synesthesia. I have a color association with each number, I don't physically see the colors but I still associate them. I've been incorporating this into my work. The colors of each number relate to my perceptions. 

 

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Each object is something that I interact with on somewhat of a regular basis. I'll be consolidating all of these objects into the same virtual space. 

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I'll be updating you as I develop further in this. Right now I'm creating as many objects as I can (365 is a lot!). Hopefully you have a sense of what I'm grappling with right now. I'll stay in touch.

 

My best,

Paul. 

08/28/17 Senior Studio + Sound

 

Today is my first official day as a senior in my BFA program at Lyme Academy and I have much to catch you up about. A lot has changed this year; I started working for the Post Office, released my first dance album, and got married! So let's briefly talk about what's new.

S T U D I O


First off, here's what my virtual studio looks like as of yesterday. 

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This year I've been working in a space that doesn't allow me to move much so now having my own studio with ample space is exciting.

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My husband and I re-purposed two wire iron holders to hold the sensor. It's a cost effective solution. 

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Here's another shot of the floor space, I highly recommend using anti-fatigue mats for extended VR use. 

S O U N D


I've learned a lot more about sound design and released my debut album, Hndrcksn, in July. Here's the full album (listen if you'd like). 

I'm happy with how these came out. During the Spring I limited my production time to 24 hours per sample so that I wouldn't get too obsessed with the results and would instead focus on experimenting and having fun. I think that was a smart introduction to music production. During the Summer the challenge was to learn how to take samples and make them into cohesive songs. My first album was beat mixed (the individual tracks formed a single mix). 

 (credit: http://adugas.tumblr.com, 08/28/2017)

(credit: http://adugas.tumblr.com, 08/28/2017)

Throughout the album I included excerpts from Dionne Warwick's Psychic Friends Network. 

 (credit: timecube.2enp.com. 08/28/2017)

(credit: timecube.2enp.com. 08/28/2017)

I also included an excerpt from 90's conspiracy theorist, Gene Ray. I'm currently I'm working on making a remix album for Hndrcksn and should have that published before the end of the year. 

That was a quick synopsis of my Summer. I'll blog more about the VR drawings and my time cards later. Thanks for listening,

 

My best,

Paul. 

05/29/17 Performance Art

I took a break from blogging this Spring but now I'm consolidating some of my ideas and looking to the future. I guess I should talk about performance art since it has been an integral part of my work as of late.  

This is my first video and it marks where I started to think about performance as a form of media rather than a way to create physical objects. I started looking at Matthew Barney's Drawing Restraint series and it got me thinking about using gesture to talk about action painting.

A picture of Pollock because why not? I've been thinking about Abstract Expressionism as a declaration of ego and a glorification of a male dominated industry. I think there is a link between this and the tech industry.

I try not to overthink my studio setups by arranging things just a few minutes before shooting. It's been important to just produce work and not over think decisions so that I can start to develop by doing. All of my work has started to take on an immediacy, where things are edited and posted the day of. Social media has been a huge component to this and the work is best viewed through this lens.

The social media component to the work enhances the content, specifically the exploration of ego in relation to the artists space and the camera. Even the timecards, as I get closer to 365 days, have begun to feel like a ritual to gain likes (I'll blog about that later). 

Another important revelation has been to SIMPLIFY! When I started, the time of day, action completed, and heart rate were all a part of the title. As this work has developed I've been including only the data that is integral to understanding the video. 

For my final in my mold and cast making class, I casted VHS tapes, CDs, and floppy disks in plaster to smash during my performance. I hope people view these as humorous and maybe a little self deprecating. Showing the numbers as I sweep seems like the most eloquent way to show the data and I'll probably re-edit some of the first videos. I'm also thinking about creating a gallery in virtual reality where someone can walk through different rooms and can view the videos. I imagine theses spaces as liminal and accessible everywhere so virtual reality could enhance that. Anyways, I hope you have a sense of what I'm grappling with.

Thanks for listening,

Paul.

02/20/17

I've moved into this new year with a lot more questions than answers. Even as I write I find it difficult to consolidate some of my explorations into a single topic. I've been making visually stimulating prints using ellipse motifs.  Here are some examples.

 Seven Ellipses, hand printed woodcut proof

Seven Ellipses, hand printed woodcut proof

 Six Ellipses, drypoint on zink, proof (having some issues getting a burr in the zink, these plates need some more touching up)

Six Ellipses, drypoint on zink, proof (having some issues getting a burr in the zink, these plates need some more touching up)

I just want to get more comfortable with printing and creating images. Part of my inclination is to create symmetrical, stimulating imagery that flips between flat and dimensional. I'm not sure where this fits into the time based work and that's ok with me. 

I've been painting in shorter periods of time, trying to make decisions within a few seconds and letting them be. 

 6'x6' 99 Minutes, acrylic and oil on canvas

6'x6' 99 Minutes, acrylic and oil on canvas

This is a painting made up of 1188 squares, the black lines are acrylic and the red is oil. I filled the squares at 5 seconds per square, 99 minutes total. Unlike the time cards, it's a very stressful experience (since I have to keep looking back at the timer every few seconds). I've been working with sound recently though and can fix this by making a track with a beat that keeps me on time. 

Towards the end of the session, the mark making began to take a life of its own, becoming more gestural instead of just filling up the grid. I painted in alizarin crimson because 99 is a very red number to me. I'll repeat the process again on a new 6x6'.

 Four 10 Minute Sessions, Linocut proof

Four 10 Minute Sessions, Linocut proof

Lastly, here is a similar way of thinking but with four linoleum squares drawn at 10 minutes each. I've also been experimenting with some processes in VR and will have some videos to share in the following days. 

My best,

Paul. 

1/16/17

As the new year marches forward, I’d like to talk about my time cards and the evolution of my process in 2016. On June 23, 2016, I started a journey in documentation and repetition that has continued for 207 days and counting.

Here are the rules that my cards follow: 

  1. Within each 24 hour cycle (local time) a ‘time card’ is drawn.

  2. The card is prepared (torn from a larger sheet of paper) on the day it will be drawn on, using the previous day’s card as a template for size.

  3. A drawing session proceeds without interruption.

  4. Lines are drawn on to the card from top to bottom (in landscape orientation).

  5. The card is filled with drawn lines from left to right.

  6. The exact length of the drawing session is recorded in minutes and seconds (MM:SS).

  7. The time of day (start time and end time) is recorded in local time (HH:MM-HH:MM).

  8. After the conclusion of the session, the exact number of lines is counted.

  9. The cards data (start time, stop time, length of session, number of lines, and date) is recorded (in this order) on the back of the card in the upper right hand corner

The journey has refined my process and eliminated unneeded variables as time goes on. I started out photographing these drawings with aesthetically pleasing backgrounds of grass and other patterns. On 10/03/16 I started photographing the cards on black backgrounds to allow the focus to remain on the cards.

From 11/01/16 and onward I changed the orientation of the cards as I photographed them to be in portrait orientation. This decision relates to the figure ground relationship between the lines and paper. When the cards are viewed in landscape orientation the lines act as figures standing within a space. Changing the orientation alters the space of the card, but it also modifies the rate at which a person can process the image in its entirety. The landscape view does have a time-based element, as one can see the order in which the lines were created and can imagine the lines being drawn from left to right. The horizontal lines of the portrait do not have this component and remove the viewer from seeing the original sequence of lines as they were drawn. The lines in this format seem to be in the same moment; unified and contained.

The size of the cards fluctuate over time because of rule #2 and have dramatically increased since the summer. The average number of lines for the year was 117 and the average length of each session was around 22 minutes.

Notable Inconsistencies:

  • From 06/23/16 to 07/03/16 the color of the cards was drawn in red ink. On 07/04/16 a transition card was created that changed from Dr. Ph Martin Hydrus Watercolor red ink to blue ink of the same brand at the 49th line. This was an aesthetic decision that I’m not interested in repeating.

  • On 09/23/16 there was a transition from Dr. Ph Martin Hydrus Watercolor Ink to Dr. Ph Martin Bombay Blue India Ink at 42nd line

  • On 10/16/16, 10/17/16, and 10/19/16 I used lines that were wavy to add more visual interest to the card. This is an aesthetic decision that does not add to the purpose of this project; to use repetition and elemental components of drawing to translate one thing into another.

  • From 11/12/16 to 11/16/16 the edges of the cards were altered from a straight edge to a wavy edge. The decision does not detract from the purpose of the card, but it doesn’t enhance the purpose either.

Number of Lines in Each Card, 2016.

Thank you for your continued support and interest in my work.

 

My best,

Paul.

1/02/17

I have some thoughts about repetition and spoken word. Repeating words has a way to strip sounds of their associated meanings and lately I feel I haven't truly heard a word until I speak it for a length of time. Here is a video of three sessions of the word 'HNDRCKSN' layered over each other. I encourage you to watch the video in its entirety without interruption.

'HNDRCKSN' and 'Time Hotel' have been the most successful words for me this because they seem to shift around into other words then back again to their original sound. My friends also really enjoyed the process and it's great to see people experiencing words in alternative ways. I'd like to expand on some of this and record more people. 

12/28/16

The first semester of junior year has ended and I have more time to consider the past four months. I have no structure to these posts, simply my thoughts as they arrive to me. Last December I made a line drawing during the landing of a plane, recording the vibrations as it landed. I couldn’t have imagined then how important the act of recording would become to my artistic process. I just finished a 10’ ink on paper line drawing of 1000 lines using primary colors.

 Ink on paper, 1000 lines, 23 hours 5 minutes 13 seconds

Ink on paper, 1000 lines, 23 hours 5 minutes 13 seconds

I have been told by my peers and teachers that the rectangle is repelling from a distance yet stimulating up close.

The drawing was interesting towards the end because as I drew I had to count each line out loud to stay on track for 1000. speaking numbers as I draw has been a relatively new process that refocuses my intention at the start of each line. It also has had some unexpected results. I've always perceived numbers with colors simultaneously, not to the extent that some people experience synthesesia, but the link has been there as long as I can remember. The act of counting has made those connections more apparent. If I'm counting line number three and drawing a blue line something feels off since the numeral three is yellow to me. To explore this further, I've been making monotype prints and paintings with numbers drawn in their related colors.

There’s a declarative aspect to the pieces, they feel like math rubrics. I have been recording the time for each number/color work but I’m not sure if it’s necessary. I also need to point out that these works are interpretive and just because I’m using a blue doesn’t mean that it’s the ‘correct’ blue. Often I would draw a number and the color would feel slightly wrong. In my number painting I found most of my process to be corrective, trying to make the work more ‘right’. I also created an audio track of the numbers 1-288 counted with sounds overlapping each number. Different pitched sounds would represent a color and as the numbers climbed to the double digits the overlapping sounds became more complicated, reminiscent of a trance track.  

 Monotype. Numerals 1-64

Monotype. Numerals 1-64

This fall has been an integral part to my development as an artist and I'm excited for the new year. 

My best,

 

Paul.

10/31/16

It's been more than a month since my last post. I've had two community shows, one in Essex and one in New London, a great way to meet people in the area and get some input on my work. I also had a chance to see the show on Agnes Martin at the Guggenheim, if you're in New York definitely check it out.  Here is a photo of an installation at the Essex Art Association.

 On the right are time cards from the month of August. (15 Hours 31 Minutes 5 Seconds. 3,984 lines, India ink on paper). The left is 9 sessions of 30 minutes, each drawn at a different speed, India ink on toned paper.

On the right are time cards from the month of August. (15 Hours 31 Minutes 5 Seconds. 3,984 lines, India ink on paper). The left is 9 sessions of 30 minutes, each drawn at a different speed, India ink on toned paper.

Here is a shot of the cube at the Marquee Gallery in New London.

 May 2nd, silverpoint on venetian plaster, 2'x2'

May 2nd, silverpoint on venetian plaster, 2'x2'

The wooden frame was removed from the bottom, allowing the shape to breath as a single unit. If an element can be removed and the piece still works, it should be removed. I'm happy with the outcomes of both shows.

Using alternating primary colors has been a needed development in my monotypes. Here are three of them.

During critique, a few people were confused to why I wrote the time in the left corners if the lines themselves are supposed to represent the unit of time. I've been thinking about this for a few days now and I agree that the two don't work well together. The lines themselves are the time and the written text in this format does not improve the work. I'll keep using the alternating lines but on a larger scale. I started a 10' ink drawing that hopefully will take the optical quality of the primary colors to another level. Another development in my future work will be using sensors to create dialogue between the object and the viewer. I'm looking into making some drawings on conveyor belts that change speed depending on the distance the viewer is from the piece, however, the process of creation will uncover something unexpected.

Happy Halloween!

 

Paul.

09/29/16

I've been making some breakthroughs with my prints. Recording the exact time that a print is printed has been a great way to create multiples while still maintaining an element of authenticity to the time based ideas I've been trying to incorporate. The image here is my first monotype.

I took the consonants from the words "time hotel" (something I'd like to talk about at a later time) and painted them on durlar (it's a three plate monotype, two of them are yellow). I drew the lines of the text in one session and wrote the exact time, 3 hours 18 minutes, 33 seconds. Theres a declarative aspect of monotypes that resonates with me.

I also made a pronto plate (which is a similar process to litho's but with a thin sheet instead). One applies a ball point pen to the surface of the page, the page is dampened and inked up before printing. The ink only sticks to the ballpoint and the print is made. After the first session of lines it became apparent that I had drawn them too lightly, so I took two more sessions to redraw the lines, an arduous process. Here is a photo of the redrawing process. 

After the lines were up to par my classmate and I started printing, but as I was wiping down the surface of the plate I grabbed a bottle of the wrong solvent and accidentally wiped away a large portion of the lines. Rather than drawing them in again in another session I decided to print. Here is the image.

 

There is something compelling about using specificity and rules to build up a surface and then wiping it away in a decisive moment. Since this was an accident, a part of the process, I get excited by this print. I'm not sure if I would purposely wipe away my surfaces but I think this accident has allowed for a conversation in destruction.

09/15/16

I've decided to create a blog. It's important that I start writing about my art. Doing this in a public way creates a transparency in my process and opens the dialogue beyond my daily sphere. I'm a junior at Lyme Academy of Fine Arts in Connecticut and this is the first semester where I have complete control over the direction in my work. I'll be updating this blog to talk about my successes, failures, and revelations during my creative process. Since the start of this Summer I've been creating process/ruled based art exploring the marking of time through line drawing. This past week I created a drawing on 6'x40" and 6'x6.5" pieces of sized paper. The rules are a follows:

  • Four drawing sessions (of left to right horizontal lines drawn in sequence) of 30 minutes, each in a different primary color (it's arguable that green is a primary color).  
  • Each session drawn at a different rate
  • A line for each minute in its corresponding color drawn on the 6'x6.5" strip 

Here is a video of the process (the camera died before the end of the last session)

 

I used distemper paint, which is rabbit skin glue mixed with pigment, to draw the lines. I wasn't able to get a full line across the page so I kept adding new lines on top of the old ones. The vertical strips of tape seen in the video were used as a visual guide to realign the lines horizontally. Here is an image of the finished piece. 

 

 

The use of color in representing each session is interesting to me and I'd like to continue to explore this.