I created this piece by laying down a thick layer of gesso in which I made patterns, textures, and various lines before it dried. Once it dried, I put down the pigment using thinned acrylics. The black ink strokes went on last while the acrylic layer was still a bit damp.
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Much like my previous “Entity Embedded,” this piece suggests a form rising to the surface of a field of color. It was created in much the same way too. First, I put down a layer of thick gesso, in which I “drew” grooves, textures, and lines. Then I added pigment and the black shapes.
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I have been experimenting with color blending and smaller strokes lately. This piece turned out very much as a pattern, but color densities change from place to place. Still working on controlling that process to create more intentional effects. Acrylic on heavy stock paper.
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After laying down some obtuse white lines with strips of tape to keep out paint and ink, I started adding acrylic washes of various colors. By using relatively dilute paint, I allowed colors to blend in with each other in some places. As in many abstract paintings, this one was started with a basic idea but then took on a life of its own as I tried to let my intuition guide me. I like to let this happen, while also keeping basic compositional principles such as spacing, points of focus, and value contrasts in mind.
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Often I create a background and then layer the ink strokes on top, but in this case the process was reversed. I was only working on ink strokes, thinking that they would just be black on white, but on examining this one, thought it might look good combined with a different color. So the red was layered around and, in some places, over the black ink. I like the effect because it suggests that the ink stroke is emerging from the swirling and somewhat chaotic red.
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Layered acrylic washes and ink on watercolor paper. For this piece, I first put down some light acrylic washes and arcs using acrylic ink. On top of these, I then layered more opaque colors and a few splatters.
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This is a layered image, with diluted acrylic washes at the lowest level, then some blue and red strokes, followed by the black, which was much thicker than the other pigments. This piece borrows from the evocative shapes of Asian ink traditions, but is not a Japanese or Chinese character.
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In this work, I was focused on creating a sense of colors merging into and flowing around each other. I think the net result also evokes a tangle of nerve fibers.
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