A lot of my recent work is composed of assemblages of “minimalist” geometric shapes which are clustered together to form larger more complex compositions. For this homework lesson I am documenting the process of painting
ONE of the 2” wooden cubes that were used in the Cluster Wave assemblage shown with the attached images.
These cubes are individually painted in the following steps:
- each wooden block is primed twice
- black “grid lines” are applied
- the space between the lines is filled in with pools of contrasting color
A nail is inserted in the back of each cube. These “modules” are then attached to the wall in various shapes.
My original intention with the modular series was very practical: to create a body of work that could be arranged and rearranged depending on the overall size desired (my reaction to the ever decreasing budgets of commercial art installations.) I also like that this “strategy” results in “co-creative artwork” where collectors can collaborate with me to determine the appearance of the work. I just received a call this morning for one of my Overlapping Circles assemblages where the client needs to cover more wall than the work originally intended, so they are going to have them flat/not overlapping and farther away from each other. (a sale that may not have happened otherwise!)
Again being practical: each Cluster module has the image on all visible sides so that you can experience the work from any angle (great for narrow corridors or up-down views on stairwells). And, by contrasting the color between the top and the 4 sides, the art appears to “morph” as the viewer passes by.
The Cluster series was originally inspired by a quote: “How goes the part, So goes the whole.” It’s “the whole is greater than the sum of the Parts” idea. Each assemblage is composed of individual parts which are further broken down into separate “cells” that are painted on the surface. (the latter of which is demonstrated on the process images attached!)
On a more esoteric note: a student of yoga and meditation for 25 years, the physicality of my artwork continues to afford me the cherished space and time for mindfulness meditation consequent of hundreds of hours a month of intense focus and repetition.