New Work in Paper

And you thought I was still on the couch reading the Times! But, no, I've been back in the studio dealing with the failed pieces I had put together. I've been making some new work for corporate collectors and have five done so far. (There was a #6, but it hasn't made the cut - yet.) They are untitled for now and I'm just calling them "March Paper 1-5." I'm starting with March because that's when I'm planning this project will be done.

March Paper No. 1 - 34" x 34" - acrylic on ricepaper with collage

March Paper No. 2 - 34" x 34" - acrylic on ricepaper with collage (lower right quadrant needs more color)

March Paper No. 3 - 34" x 34" - acrylic on ricepaper with collage (needs some color adjustment)

March Paper No. 4 - 34" x 34" - acrylic on ricepaper with collage

March Paper No. 5 - 34" x 34" - acrylic on ricepaper with collage

Of course No. 5 is my favorite because of the predominance of blue and the more freestyle lower left quadrant, but yellow and orange seem to work best for the corporate market for some reason.

So you'll note that these pieces all have the same basic format, a limited color pallette (for me) and a limited number of patterns. Most of the patterns started with stamping simple shapes in black. These restrictions are the way I've decided to approach the problem I was having with the work looking too scattered because of too many patterns and colors. I think that six pieces in a group is probably the maximum number I'll want to do, so now I'll have to come up with a different layout for the next six. I'll also change the color pallette a little but probably stick with some version of yellow, orange, green and blue - with black of course.

Photographing the work and seeing it all together in a smaller size is a good way to assess everything - both to see how it all goes together and how each piece stands up. How fortunate we artists are now to have digital photography! I was thinking about how many corporate pieces I have sold without having an image of them because I didn't have time to get them to the photographer. They exist in my memory just as vague shadows. Now I can make an instant record of the work as it happens and even before committing to the final version. It's a great tool to have and a real benefit in the studio. "Don't you just love technology?", she asked a bit sarcastically.