Ricë and I had a good talk last month about getting to know yourself and your art better... what really excites you, what medium/media you love so much you want to marry it, things like that. Like decorative paper and transparencies and stuff. (See more on my Flickr pages.)
She suggested I get off my ass and do some deep thinking about these things. The threat of her nagging me to do so reared its head also. So I've been thinking. (Yes, that was the source of the smoke you smelled.) I hate hate hate homework, but I've been thinking.
In my last piece, Dryad and Child, I was thinking about the face(s) I mean to show to the world, and the ones that show whether you know it or not. When I was younger, I thought one had to be the real thing, and the other was fake or not as authentic. (I was a teenager. Cut me some slack.) But I now think it's more like parts fade in and out, depending on circumstances.
Even with children. Which is why I printed one face, and layered another on top, on both figures. You look at one face, then the other, then back to wonder what one face expresses or conceals...
Another element of these shifting perceptions: all of the faces I used are of African Americans. Even the transparency face. They're just different shades of black people.
So I guess essentially, I like translucent layers, especially faces, because you can see two elements at a time and your mind shifts back and forth from one perception to another. My clever Artfest roomies Cheryl and Layla picked up on that right away.
That's why I like lace paper so much, and the semi-translucent white leaves on the dryad's over-skirt. I used to adore vellum when I first started making cards, for the same reason. The delicacy obscures, but doesn't completely hide, the layer beneath. This piece was the first I've made where I think that interest came out to the fore.
Dryad and Child is for sale (email me if you're interested), mainly because I want someone else to be as fascinated by the faces as I am. I plan on putting the piece on my Etsy store tomorrow.
She suggested I get off my ass and do some deep thinking about these things. The threat of her nagging me to do so reared its head also. So I've been thinking. (Yes, that was the source of the smoke you smelled.) I hate hate hate homework, but I've been thinking.
In my last piece, Dryad and Child, I was thinking about the face(s) I mean to show to the world, and the ones that show whether you know it or not. When I was younger, I thought one had to be the real thing, and the other was fake or not as authentic. (I was a teenager. Cut me some slack.) But I now think it's more like parts fade in and out, depending on circumstances.
Even with children. Which is why I printed one face, and layered another on top, on both figures. You look at one face, then the other, then back to wonder what one face expresses or conceals...Another element of these shifting perceptions: all of the faces I used are of African Americans. Even the transparency face. They're just different shades of black people.
So I guess essentially, I like translucent layers, especially faces, because you can see two elements at a time and your mind shifts back and forth from one perception to another. My clever Artfest roomies Cheryl and Layla picked up on that right away.
That's why I like lace paper so much, and the semi-translucent white leaves on the dryad's over-skirt. I used to adore vellum when I first started making cards, for the same reason. The delicacy obscures, but doesn't completely hide, the layer beneath. This piece was the first I've made where I think that interest came out to the fore.Dryad and Child is for sale (email me if you're interested), mainly because I want someone else to be as fascinated by the faces as I am. I plan on putting the piece on my Etsy store tomorrow.