17.1.16

VANITY 6 TRIPTYCH


I’ll be the first to admit that Prince just doesn’t do anything for me. I’ve tried. Oh lord, have I tried. ‘Controversy' is the only record that I’ve given multiple listens to. I really want to like what he does, but it just doesn’t resonate. 

But what I can can do is appreciate his artistic genius. I can’t deny that he has single handedly created a style and sound that has permeated through our current pop landscape. It’s almost as relevant today as it was in 1982. I can really get behind that. I also love the fact that he sort of divided up his talent and formed these little side bands fueled by his vision. One of those bands, Vanity 6, has always held a special place in my heart.

11.1.16

TANGIBLE TRANSPARENCY / PHYSICAL PARALLAX TRIPTYCH


Transparent things fascinate me. I can’t exactly explain why. It just conjures up this sleek futuristic-like visual experience that I really like. The ability to see through strong matter constructed of no color is really nothing short of an earthly miracle. Glass has been around for centuries. Plastic is somewhat of a new revolution yet extremely well engrained in our modern culture. New materials are being designed and implemented everyday. The possibilities in transparent technology is endless. I've heard scientists have been experimenting with light bending technologies in order to achieve invisibility of physical objects. That’s insane!

I like to use a lot of transparency in my art. I like to see colors overlap one another yet have the ability to mix at the same time. The visual blending that it creates is wonderful. Throw a some light in there to get a nice glare or reflection. Oh baby… That tickles my brain in just the right way. 

Anyway, let’s get down to business. I’ve been taking some of my vector art and thinking up ways on how to best display it. I like the idea of just doing a a giant black and white xerox print. But I don’t know if that is the strongest option. I have been experimenting with silk screening and making simple two color prints. That has been working out really well. However, I always like to try new things. The exploration phase in making art is the most exciting part in my opinion. How do I go about transferring my art from the screen to a tangible canvas? And how do I do it in the most exciting way possible?





16.12.15

A NEW DIMENSION IN TERROR TRIPTYCH


You know… 

This is really silly but I gotta get this off my chest. I made my first triptych as an homage to my second favorite film, Belle De Jour. Now I’m making my second triptych based on my number one favorite film ever, Friday the 13th Part Three. See the parallel? It’s because I’m an artist and stuff. I think about these things and how they are relevant to our way of modern life. Then I reflect that onto the world. Pretty cool, huh? Don’t you feel really enlightened? It feels good. 

"Think of a far off realm twisted by the absurdly morbid. Its consumption of entertainment are these tiny bursts of blood drenched realities."

Anyway, I look at this piece as a surreal alternate reality to where this film might have existed. Simple. Clean. Organized. Efficient. Yet slightly off kilter. What a world. I wouldn’t mind taking a stroll through that someday. The story of Friday the 13th Part Three is a simple one. Kids go into the woods for a weekend to party. One by one they are picked off by an axe wielding masked maniac. There isn’t much rhyme or reason as to why this film exists and that’s honestly the best part of it for me. It’s ridiculous. I love it for its atmospheric nostalgic quality and low budget aesthetics. Also, let's not forget that this film was at the forefront of the early 80's short-lived 3D craze. Truly, this is a pioneering achievement in film making. Dig?



9.12.15

BELLE DE JOUR TRIPTYCH 24 x 36 (AND OTHER STUFF)


Here are some process shots for the Belle De Jour Triptych at 24" x 36". After I made these, I concluded that perhaps this is just too large of a size to work with. It took about 8 letter sized sheets of transparency just to burn the screen. Then it took a lot of time to cut down the mat boards, burn the screens, the amount of ink used. etc… The whole thing was just a tad too troublesome for the initial outcome. When I was done, I stood back and looked at them and it just didn’t feel right. 

I think I’m going to go back to the drawing board and resize these differently. Already leaning towards an 18 x 24 size. Heck, I’ve already got some other designs ready to go for that. 




7.12.15

BENGUIAT CASLON SWASH


Been on the hunt for a cheap alternative to the Benguiat Caslon Typeface for awhile and I stumbled upon something called Emfatick NF on myfonts.com. It seems to do the trick, but I'll more than likely play around with it as I find more important uses for it. 

Right now, I'm sitting on my couch watching my favorite film in the whole wide world and I decided to make this. Ya know... hanging out on a chill Monday night. A glass of peach sparkling water by my side. A cool crisp chill in the air. Getting lost in some random art project. A roaring fire. These are the glory days, people. 

PROGRESS WORK FOR LARGE SCALE PRINT PIECES VII




4.12.15

1982 PITTSBURGH KMART



If I had a time machine I wouldn’t use it for any sort of good for humanity. Well, maybe… I mean, I wouldn’t interfere too much with the space-time continuum, but maybe I’d prevent a few disasters here and there. Or not… I don’t know. 

What I would do is go back in time and immerse myself in the super average. I’d set the time machine to drop me off in 1982 and then I would seek out a Kmart. I would walk around that Kmart for hours just to marvel at all the average american necessities. If possible, I’d love to select any specific location. Maybe I can program it to take me to a 1982 Minneapolis Kmart. Or Akron OH or Boulder CO… The possibilities would be endless. 

First I would grab a thermos of delicious black coffee and a few vanilla wafers to stick in my backpack. Then I would program the time machine to take me to mid October 1982, Pittsburgh PA. Pittsburgh would be the ideal location because it’s a little midwest and a little east coast. Great dichotomy if you ask me. Just imagine it. 

"A real average mid-century american rust belt dream. Plain as butter on bread. Everything is just soaked in mediocrity. So magical."

I’d arrive in the morning just before the store opens. A crisp wind circles through the early morning air. I’d walk through the parking lot sipping from my thermos. The shopping center surrounding the epicenter that is Kmart awakens to a new day. Cars begin to arrive. Nice! Did you see that? An olive green ’73 pacer. Beautiful! *tears begin to well in my eyes. 

3.12.15

BELLE DE JOUR TRIPTYCH


Here is my Belle De Jour triptych in a sweet frame mock up. I'll be showing the middle one at Feet Wood this month for their "Constructive Chaos" show. I made a two color print at 24 x 36. It's huge. I may not go that big again. It's just to troublesome to produce and who the hell is gonna have something that big in their home anyway? I wouldn't. Unless I had a really big home. That would be awesome. A big house filled with big art. Nice!

So anyway... I've explained what this piece represents before. It's an homage to the French film, Belle De Jour. It's kind of a dry watch, but I don't know... I really like it. I like the whole atmosphere that it invokes. It's kind of the same feeling I get from watching Friday the 13th part 3. There's just this presence that it has that I really respond to. Like... Like... there's this universe on film that I want so desperately to immerse myself in. ...to live among the saturated sun damaged colors. 




27.11.15

PROGRESS WORK FOR LARGE SCALE PRINT PIECES VII

 

I began work on another one of these large scale print things. I'm finding it a bit troublesome on how to put something like this into production. Last night, I took my Belle De Jour Triptych and made the transparency for the 24 x 36 print compositions. It took 8 legal sheets to composite just 1/3 of the triptych. So.... let's see... that's like 24 sheets in total. Then I had to cut and tape them all together all the while filling in as much of the gaps that I could with a black magic marker. Don't worry. I'll go into much more detail in a later blog. 

I'm taking a different approach with this one. Instead of relying heavily on logo and type design, I've decided to construct the basic skeletal frame by using simple shapes. Circles and squares if you will... This will act as a foundation for all the wordplay that I'll eventually throw all over this. I'm hoping that it will create an interesting dichotomy in which these basic shapes will dictate how the type design will play out. Before, the type was the foundation with the structure built on top. We'll just have to see where this goes. As you can see, it's pretty barren right now.


22.11.15

BELLE DE JOUR TRIPTYCH PRINTS 6 X 9



So remember a few blog posts back when I was talking about that inverted black and white triptych series? Well here it is in... “...glorious two color 6 x 9 print versions. Pretty rad, huh?"

See... a few weeks ago I found myself in an artists scrapyard place looking around for frames or paper stock or whatever. I happened across a stack of elegantly cut 6 x 9 boards of card stock. There were maybe thirty or so in the set. …at least that was what I was able to gather from the various debris. I got the whole lot for two bucks. Not too shabby.

I didn’t really know what to do with them. At first, I thought that I might include them in the flux kit that I’m building. However, since I was working on a number of triptych pieces at the time, I leaned more towards making a few small test prints from that. So blammo! They turned into these little two color prints. But you may be asking yourself. “Adam, why would you go through all the trouble in doing these things. Don’t you have, like, money you should be out making or something?"