MOLTEN SKIES # 6 like MOLTEN SKIES #1 and all of the pieces in the Series is presented exactly as photographed without any alterations, (except for some minor cropping), enhancements or the use of any filters. I am continually surprised by the range of colors and vistas that the sunset sky presents.
MOLTEN SKIES #1 is part of my “Molten Skies” Series which, in turn, is part of my “Views From a Third Floor Window” Series of digital photographs. While I have used digital photography to submit images of my art work to juried shows, I am just starting to experiment with it as an art form in and of itself. MOLTEN SKIES #1 was shot using my cell phone without any filters or changes except for cropping and is of a late January southwestern sky just after the sun dipped below the horizon.
YOU ARE HERE is both a “conceptual” and a “process” piece. It is a conceptual piece in that it is neither representational nor abstract, nor is it a statement or commentary. It is more of a Rorschach test than anything. Do you get a sense of adventure and excitement, of almost endless possibilities, whichever way you go will lead somewhere; or do you have a sense of indecision, there is no way to make the right choice? It is a process piece in that I had a single, 22” x 28” sheet of white poster board and wanted to see if I could make anything two dimensional out of it. (16” x 20”) (2021)
DECEMBER MORNING FOG #3 is a paper collage inspired by a digital photograph I took as part of my Series “Views From A Third Floor Window” which is, in turn, part of my experimenting with digital photography as an art medium, but it is a very different collage form than DECEMBER MORNING FOG #2. DECEMBER MORNING FOG #3 is composed of “financial service papers”, i.e. the linings of financial communications such as credit card and bank statements and is more representational than DECEMBER MORNING FOG #2 and draws less on my stained glass and mosaics background.
DECEMBER MORNING FOG#2 is a paper collage inspired by a digital photograph I took as part of my Series “Views From A Third Floor Window” which is, in turn, part of my experimenting with digital photography as an art medium. DECEMBER MORNING FOG#2 is also part of my “Negative to Positive” Series which takes the background, i.e., the negative space, from a single piece of advertising or packaging material and repurposes it as the positive image in a collage. The “Negative to Positive” Series is intended to force me to be both creative and disciplined.
I have now been at Ann’s Choice for a little over 18 months and am starting to get a more focused picture (pun intended) of what I am going to be doing to scratch my artistic itch. While I expect not to be making any new handmade paper, and doing much less, if any ceramics and printmaking (the facilities and location don’t really lend themselves to these mediums – at least as I do them), I am expecting to go back to a couple of mediums, stained glass and woodworking, that I haven’t worked with in years; to expand my collage work, and to explore a couple of new mediums, digital photography as an art form and origami using my existing supply of handmade paper.
The piece shown here, DECEMBER MORNING FOG, is part of a series of digital photographs taken, in this case with my cell phone, from my apartment window and titled “Views From A Third Floor Window”. The color is natural: no filters were used and the only editing was some cropping and sizing for internet transmission.
The next two pieces will be two different collage impressions inspired by DECEMBER MORNING FOG.
January 7th marked the end of my three month solo show at The Gallery at Ann’s Choice. The show was conducted as a fundraiser for the Benevolent Care Fund at Ann’s Choice and I am very pleased that twelve pieces in several different mediums were sold and that just under $2000 was raised. I would like to thank everyone who helped make it possible: to Sherry Resnick and the other members of the Ann’s Choice Art Gallery Committee who gave me the opportunity to exhibit my work; to my wife Susan and my daughter Alicia who helped curate and arrange the show: to Ann’s Choice Community Resources staff member Kenny Faunces who hung the two dimensional pieces and who, along with Chelsea Rounds, the Ann’s Choice Community TV Coordinator, did the publicity for the show; and of course to everyone who purchased a piece, gave it a good home, and helped me support the Benevolent Care Fund. Thank you.
As part of my solo Exhibition and Sale at Ann’s Choice I will be giving an Artist Talk and Gallery Tour this coming Saturday, December 11th starting at 11:00am in the Catering Room located on the first floor of the Liberty Commons Clubhouse. It will then move to the Art Gallery on the second floor of the Liberty Commons Clubhouse at Ann’s Choice.
I do not believe that Artist Talks should be monologues and am hoping for a lively dialogue and exchange. I would like this to be a fun event for a good cause.
Visitors from outside Ann’s Choice are welcome but please remember to wear a mask and park in one of the “visitor” or unnumbered parking spaces.
I am very pleased to have had the opportunity to do a solo Exhibition and Sale of my artwork benefitting the Benevolent Care Fund at Ann’s Choice, my new home. The show will run from October 7, 2021 until January 7, 2022, in the Art Gallery in the Liberty Commons Club House at Ann’s Choice. Sixty-five pieces across my body of work are featured in several different mediums including single line drawings, photographs, photograms, reverse prints, collages, clay monoprints and handmade paper as well as collographic, dark field and pantographic monoprints and hand built raku fired sculptural pieces.
The Gallery is located on the 2nd floor of the Liberty Commons Club House next to the Signatures Restaurant and across from the Library and the Liberty Craft Room at Ann’s Choice, 34000 Ann’s Choice Way, Warminster, PA
MARDI GRAS – 2006 is one of the very first collographic prints I ever made. I came across it, and my notes about it, while cleaning out my old studio as we get ready to put the house and studio on the market. According to my notes, MARDI GRAS – 2006 is a reflection on the damage done to New Orleans by Hurricane Katrina with the Mardi Gras figures shown as being under water and in black and white rather than the usual bright jewel tones. MARDI GRAS – 2006 was created using etching ink instead of the water based inks I have been using lately, but as I looked at it, I was struck by how little and how much both my work and the world have changed in 14 years. (2006) (16” x 12”) ($125)