I finished "Electro-Pop Lady Grid II" and have now successfully scaled up my corner installation! The corner piece will be the final piece in my upcoming solo show at Camiba Art. I have no idea what to title the thing, but I'm sure it'll come to me soon... in the meantime, check out some new photos:
Electro-Pop Lady Grids I & II
Electro-Pop Lady Grid II
This piece was created by registering gel transfers of photocopied ink drawings onto hand-painted acrylic gradients, and then collaging them onto book board substrates. Presented face-up on a pedestal, it blends illusory and sculptural spaces within a non-quadrilateral format, activating painting off-the-wall. As the viewer investigates the piece's various perspectives, their body is denied entry by its small scale, forcing them to reckon with the anamorphic contradictions created by the painting's multi-planar surfaces. "Electro-Pop Lady Grid" pulses with an electric cyber-queer energy, interposing spectrums between rigid binaries and disrupting expectations by bending perceptions of hierarchy. Like a grand mountain, the undermost layer may become the summit, just as the trompe l'oeil recedes into the foreground.
Scaled up! Approx. 4 cubic feet... more soon!
The book board structure is complete!
It's so pink, it hurts my phone. And I still have two more layers to paint! #FuckThePatriarchy
"Fachwerk" is complete! (Better photos soon...)
Acrylic on book board substrate
30 in. X 30 in. X 32 in.
Color and space; counteracting the obviousness of the shadows by creating an illusionistic dimension that contradicts the painting's form.
The "tip of the iceberg" is emerging from the wall. Talking points:
1) Equal values can appear unequal from different angles.
2) Flat shapes can become illusionistic extensions of three dimensional planes.
3) A shape's number of sides can change in Euclidean space.
4) Triangles and squares are essential building blocks for creating continuity within anamorphic surfaces. (Thank you, Germany!)
5) The perimeter cannot be arbitrary. Interior shapes must determine the perimeter to convey the painting's overall form.
6) Flush edges convey an uncertain boundary between the wall and the painting.