THE CREATIVE PROCESS
Technique vs. Spontaneity
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This turned out to be one of my best pieces, even though at one point I was ready to bin it. The process required silkscreened areas of color removal, but because of the large size of the painting, approximately 20 feet by 54 inches, and the humidity in my studio, the chemical did not behave in the normal way. It came out imperfect, runny, and hazy. During the steaming process, it was also very smoky and stinky. ( I do wear a respirator). So, after three and a half hours of steaming, with the windows open on a hot August day, I got fed up, and threw it in a heap on the floor, and decided to deal with it after the Rug Show in NYC.
About a week afterward, I skulked down to the studio. I thought to continue the steaming process and was hoping that maybe I could salvage at least parts of it. But as I started to steam, something magical started to happen. The areas that were exposed to oxygen over the week removed to unusual and subtle tones from deep blues, charcoals, and bronzes. The areas that were underneath the folds of fabric were not exposed to as much oxygen, so they turned pale orange and camel tones. I started to see there was hope, and steamed the entire piece.
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After rinsing in many baths, the true colors started to emerge. This was not visible when I was first steaming. It was a bit of a mystery, because the chemical goes on clear, dries invisible, and steams into a color that is not the final result. I am glad that I got up the courage to continue working, because of the subtle tones, areas of depth, and blue sections that did not remove. It created a multi-layered field that had richness and intrigue. It was a jewel-toned waterfall of fire balanced by the deep blue-violet hues of water.
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Then I went back into the painting and did another removal layer, to create small, bright orange highlights. I learned that even with the perfect chemical recipe, scaled up to size and weight, is not necessarily the best formula. The timing of how long the chemical is left, degree of oxidation, the time allowed to pass before steaming, and before washing, all effect the intensity of the color. There are no guide books for this. Through trial and error, I came up with my own recipes. It is also a mix of perfect and imperfect process, that I was able to take advantage to create a beautiful work of art.
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There is also the aspect of the design, which is a mandala for the eyes to experience, and lead the viewer to discover their personal balance and beauty within. The mandala has been created with precise technique and focused intention. It is a symbol designed to evoke deep meaning from the subconscious. Yet accident, and imperfection allowed the freedom of movement and breath to become a better artwork.
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