More Glow experiments

Not Yet Titled (2011)

Living Room （2011）

Here are a few photos of more work with the glow sticks.  I'm figuring out how to photograph them a little better, the lighting is tricky though, and not fully accurate to real life.  The pic below is closer to what it is really like.

New "Sculpture"

Here is another piece I've been working on - it was really nice to see something go from Sketch-Up, to hand-drawn, back to sketch-up, then into Photoshop.  Hopefully it will go into the real world some day soon.  (If you have a couple hundred and a big yard, hit me up. wink wink ;-)  I want to paint the inside with glow paint, then let it do its thing, but if I ever get to build it and the glow isn't strong enough, I'm gonna do car neon and solar panels. (actually i think the neon and solar panel would be less expensive)  This image has it situated on the median of my hometown's Broadway.

More fun in the studio I wanted to share. It is a gif, so you need to click on it to see the animation

More Studio Play - Make It Glow On 'Em

You may have noticed that in my ongoing investigation of artificial light I have developed a relationship with the old 'outer glow' Photoshop effect.  It's just so...
Anyways, stemming from that practice, I have begun to experiment with glow sticks, as they exist IRL, yet possess that outer glow associated with fluorescence. They are quite the ball of metaphor when you think about light as an analogy for truth. They are human engineered, user activated, temporary, come in many colors; the list can go on.
These are some very basic, preliminary sketches.  Eventually, I want to actually make some 'permanent' versions to be shown in a gallery or show; maybe some '2-D' and some '3-D'.  They would be designed beforehand, activated and constructed the day of the show (glued together on panels I suppose), then left to fade away over the course of the show, leaving only the lifeless mass as artifact.
Besides a metaphor for truth or enlightenment, I also sort of see this as a commentary on the popularization of ephemeral art like performance and relational aesthetics versus the imperative for salable goods in the gallery.

For the most part, these are not Photoshopped, i.e., no special filters or effects have been used to alter the images, just a little cropping and minimal color correction.
The first five were taken in total darkness.  All are arranged on white illustration board, 20"x30".

The one below was taken in dim lighting.

The one below was taken the next day, in full light, after the chemical reaction that causes the glow had run its course.

Playing around with drawing and installation

Here are some shots from this past weekend when I hung a few drawings at SCAD for Martha Wittington's ArtMerge with MocaGA.  I had fun actually making installation for once, even if it was short-lived.  There were also some glow-sticks on the ground, but I cropped them out of the photos - I didn't like them in hindsight.  I used the color DVD from my old piece "Levitas", and projected it  from outside of the gallery onto the frosted glass, which left an amazing color haze over the drawing.  If the angles/perspective looks off, the installation is in a weird 'flat-iron' shaped corner of the space.

 

Detail of the drawing's reflection back over the projection - talk about Meta-Platonics

A couple more drawings

Another sampling.  I'm not sure if Bivouac is done, but I am definitely stumped by it for now. Also, Slope is tentatively titled, I'm also thinking Slope Floats, but whatever, probably not.

Bivouac sharpie on paper, 50"x38" (2011)

Slope ink and color pencil on paper 14x17 (2011)

What? I thought I quit making Art!

New drawings - YAY!

I have been thinking a good deal lately about our relationship to the screen, and how it has changed over time. I don't have the concept clear yet, but it as something to do with our obsession with the glowing screen, possibly as a surrogate for the comfort and wonderment caused by fire. Fire is a multifaceted entity that could be thought of as natural or artificial, depending on how it was ignited. In that sense, I see these drawings as an extension of my installation work that focuses on the implications of human-initiated (artificial) light sources.

currently untitled ink and color pencil on parchment, 14x17 (2011)

currently untitled ink and color pencil on paper, 18x24 (2011)

currently untitled ink and color pencil on paper, 18x24 (2011)

currently untitled ink and color pencil on paper, 18x24 (2011)