Friday, May 30, 2014

Thursday, March 20, 2014

Children's Book Inspiration

The illustrations from The Magic Key call to mind some of my first abstract memories as a child.  
I remember seeing these illustrations in the early 80's.  I wasn't aware that these drawings would have such a profound affect on my artwork. 

The influence that this illustration has had on my work is evident when looking at Sex with Spiders.
Andrew J. McCauley, Sex With Spiders, Intaglio with Chine-Collé, 2012.

Nightmarish imagery that continues to haunt my dreams.

Canon, CCAD, Canzani Gallery-2013


Behind the Wall: Part IV

Finalized installation including vinyl forms that mimic the projected shadows.

Finalized installation with spectators to show scale.

Canon (Video Still 1)

Canon (Video Still 2)

Canon (Video Still 3)

Rear-projected animation through the canvas.

Canon (Detail)

McCauley Family

Interstellar Formaldehyde 

John Kortlander installing the drywall.

John Kortlander installing the drywall.

Building the wall.

John Kortlander checking the measurements.

Behind the Wall: Part III

Melting plastic to build the rotating sculpture.
Positioning the sculpture behind the stretched canvas.

Mirrored and clear plexiglass, wood and rotating device.

The reflections from the animated projection mimic the vinyl forms on the gallery wall.

Calculating the exact placement of the projection, light and reflections coming through the painting.

Rotating sculpture behind the painting.

Masking off areas of the painting much like photo dodging techniques

Revolving reflections appear to be coming out of the painting (Behind the canvas).

"Secret" room behind the painting.

Rotating sculpture with rear-projection behind the painting.

Behind the Wall: Part II

After stretching the muslin, I began organizing the work space by setting up the lighting units and a painting table.  I began cutting out fabric forms and placing them on top of the muslin, much like constructing a puzzle.  Using fabric allows me to map out the composition one layer at a time without having to paint directly on to the canvas.  I'm able to develop the painting's layout by experimenting with shape, color and texture.  Once I've settled on the underlying design, I'll begin filling in the forms with actual paint and medium. 

Working with Golden Acrylics allows for a faster drying time.  Acrylics are not only helpful for a consistent work flow, but also helps with the process of layering and building up paint surfaces.  I'm able to work much faster and cover a much larger surface area rather than worrying about working into wet paint.  Adding matte and gloss mediums to the pigments give the work a physical juxtaposition and extend the life of the paint.  

Essentially, Canon is a symbol for a body form fighting off intruders that eventually devour it's host.  These "intruders" are formalized as snake-like creatures, methodically taking bites out of the Canon body.  The emphasis in this piece is the nightgown form, which is present in much of my work.  The nightgown form has wheels, referencing an artillery cannon fighting off the impending creatures that surround it.  The rainbow forms inside the nightgown figure represent a transformation and refers to the dilapidation of mobility.  Color bands inside the nightgown symbolize transmutation, memory and mobility loss, and ultimately ascension.