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haircut in williamsburg - Limited Edition of 5 Photograph

Donald Billinkoff

United States

Photography, Color on Paper

Size: 36 W x 36 H x 0.1 D in

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About The Artwork

I think the "G" train is the best train in Brooklyn! And the busy Metropolitan Ave. station is my stop on haircut day. What could be better than the visual cacophony at this subway entrance? The image is printed in my studio using archival inks on Hahnemuhle Torchon 285gsm.

Details & Dimensions

Photography:Color on Paper

Artist Produced Limited Edition of:5

Size:36 W x 36 H x 0.1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

When I was a kid, I built elaborate assemblages that often took over the whole garage or basement playroom. Those constructions incorporated my collection of Lincoln Logs, Lego and other building blocks along with furniture, dishes, old building materials and anything else I could find around the house. That early interest in assemblage and collage continues. While studying architecture at UCLA, I was intrigued by the first generation of color photocopy machines. The bleached colors those early machines produced seemed an appropriate graphic style in sun-drenched southern California. With a little persuasion, the fellow behind the counter let me run my own copies, and I duplicated and manipulated images from both flat copy and slides. Ultimately, my academic portfolio was color copied onto a variety of paper stock, tiled, mounted on illustration board and as I searched for my first architecture job, lugged around New York in a heavy wood box of my own making. In the 90’s Robert Rauschenberg’s work inspired me to explore ink transfers. I was still interested in manipulating multiple images, but instead of doing it on the photocopy machine, I began experimenting by using matte medium to transfer images and text from magazines, and then collaging them with scraps of paper left behind after the transfer. Those early collages were rich in texture. The peeled and reapplied papers resulted in layered images and typeface resembling peeling street posters. The magazine ink was the “paint,” and brush strokes through the matte medium generated texture. But much like the early collages of the 20th century, the individual components of the work read as discrete applied elements. While the graphic quality of those early pieces was appealing, they often seemed to me to be a bit more craft than art. During that time I also began collecting the work of J. C. Heywood, a talented Canadian printmaker. His images evoke collage, but are achieved through printmaking rather than layers of physical images. His work led me to experiment with printmaking. The real breakthrough came when I set up a small art studio in one corner of my architecture office. With access to all the office technology, my early interest in color copying expanded to include high resolution photo printing, digital photography, scanning, large format printing and Photoshop. I began to marry the hands-on quality of my magazine collages with a new process for creating them.

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