The new series of paintings is taking shape. Most of the latest ones extend the Code Duello collaborative approach that Shane & I brought to the ink-on-polyester works executed last fall at chanorth to acrylic+ (e.g., inks, varnishes, other materials) on canvas. Very rarely have I attempted to systematically paint on canvas with another artist [only twice before, over a 30+ -year span] operating collaboratively. Which isn't to say I haven't co-opted other painter's canvases and re-appropriated them before. I have. Nearly my entire undergrad senior show at Notre Dame was executed on a trove of pre-stretched canvases some guy had left in my apartment complex's storage area! My creative relationship with Shane is unique though, due to the long-term shared studio proximity, access, 4D discourse, actualization and production - which makes this undertaking feasible. He's aware of what will and won't work in the toggling process. Shane delivered a half dozen canvases he'd additively texturized/dimensionally underpainted [beautifully] during course studies at Cooper, and I began overworking them. Shane's excellent usage of Guerra pigments contributes a lot to the ease of integrating his prep-elements with the subsequent layers. I won't go much more here into detail describing the exchange process, but I will present in the journal some photo-documentation of the development of these pieces, minus commentary, at least for the time being. (I likely will present a talk on this at DLG-Nashville in July.)
Suffice to say, Shane & I have already begun to discuss consequent steps, continuing the project. Exciting!
As for the 4D painting approach I'm employing: The Old Hick series seems to be emerging from a specific painting [see "Kittler" in the Dim Tim series]; but it also revives a way of building images that I practiced in the late 80s. ...Lots of push-pull, over-under, tricky color, perspective-play and so on, using perspectival and perceptual expectations to activate complex surfaces. I'm thinking in particular of a big body of work that I produced while inhabiting one of those awesome artist studios in Gypsy Alley, off Canyon Road in Santa Fe. I don't think I have any chronicle of those paintings at all, which is a bummer. There were many of them, but I have no idea where they are now. It's a very strange feeling. Anyway, the mash-up of simple composition (informed maybe by a media philosophy of concision, if not precision) with "drametric" effects is in itself new territory to move through.
[Click the image to view the non-chronological sequence. The pictures aren't edited in any way.]