In conjunction with the other new works I recently posted, I’ve been exploring a similar approach using small pieces of hardwood joined together to form wall-mounted sculptures. Like the previous work, here I mix wood types and finishes (matte and glossy). Additionally, some pieces have been painted on the ends to help in identification and labeling at the lumber supplier. I welcome this jolt of color in the work, evidence of a previous life and purpose.
Here are the images (please note that these images did not come out as well as I’d hoped):
Not Yet Titled #1
Birdseye Maple and Wenge Wood, Polyacrylic
3.25″ x 6.75″ x 1.5″
2009
Here the small piece of Wenge (black)has a glossy finish while the Maple (light yellow) is matte.
Not Yet Titled #1 (side view)
Not Yet Titled #2
Bubinga and Wenge Wood, Polyacrylic, Spray Paint
4.25″ x 5.75″ x 1.5″
2009
Here the piece of Wenge (black) has a matte finish while the Bubinga (red/pink) is glossy.
Not Yet Titled #2 (top view)
Not Yet Titled #3 (side view)
Canarywood and Purpleheart Wood, Polyacrylic, Spray Paint
4.5″ x 14.5″ x 1.5″
2009
Here the Purpleheart has a matte finish while the Canarywood is glossy.
Not Yet Titled #4
Purpleheart and Birdseye Maple Wood, Polyacrylic
6.25″ x 10.5″ x 1.5″
2009
Here the Maple has a glossy finish while the Purpleheart is matte.
Not Yet Titled #4 (side view)
Not Yet Titled #5
Bloodwood and Canarywood, Polyacrylic, Spray Paint
3.25″ x 17.25″ x 1.5″
2009
Here the Canarywood has a matte finish while the Bloodwood is glossy. In reality the Bloodwood is a much richer red color than appears here.
Not Yet Titled #5 (side view)
As always, I welcome feedback on the work. I’m hopeful that the images and details provided give an adequate experience of the work, at least through this digital medium.
These look cute. Not sure about the lumber yard classification paint. Their colors are never as nice as they could be.
I like the ones with maple. They have a nice contrast. I also agree with Chris on the lumberyard paint, especially since it is just on one edge and all the other sides are so refined. It might be better to develop your own color schemes for all the edges.
Hmmm. Well I would probably select a different adjective than cute for these new works. I think they are further stops along the road of your interest in probing the extant eccentricities of what the wood presents to you, with just the smallest footprint of intervention and/or juxtaposition. Somewhere in your site you were saying that you see yourself more as a painter, working as you do with nuances of supplied color. I find the new works honest, and I am happiest when I am able to say that about someone’s art. It’s good that you don’t reply to your commentators though. See below link for one way to look at it.
http://www.vimeo.com/7127385
Deborah,
Thanks so much for taking the time to respond. I always enjoy your feedback as I think your familiarity with me and my work allows you a good understanding of what I’m doing. You summed it up perfectly by saying, “…interest in probing the extant eccentricities of what the wood presents to you, with just the smallest footprint of intervention and/or juxtaposition.”
This is correct. And the painted ends of the boards play into that. It is found paint just as it is found wood. I have a lot of control over my work but sometimes it is refreshing to let some of that control go. Instead of picking just the right color for the piece, instead I have to make the best possible use of the color provided. It’s rough color, imperfect color and perhaps not ideal for the piece. However, it IS the color. It is someone else’s decision that I have to work with. I like that challenge.
Oh, and I agree with you about “cute.” I don’t even know how to respond to that.
I’ll check out the Agnes Martin interview soon.
Thanks!
I was afraid “cute” would sound bad. It shouldn’t. They’re cute: small, nice, intriguing, simple.