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Printmaking: Pigment print on Paper.
intersStella is a new series of sixteen drawings, arranged into four quads, with four works in each quad. These new works on paper comprise Venn like geometries based on circadian rhythms, bought to life with a series of sixteen colour variants, which I hope speak to the idea of the four seasons, plant life, and perhaps tulips in particular. They clearly also riff on the work of Frank Stella, a true hero of colour abstraction…
I’ve been working on a new series of 16 drawings, entitled interStella. It’s kind of a mash up of a number of geometries I’ve been studying, but most obviously an exploration, and complication, of the maths underlying the early works of American legend Frank Stella. I first saw his beautiful, epic, artworks at MOCA in LA in 1991, and was completely blown away. So it’s been on my mind for a long time to try and unpack some of his thinking, and riff on that beautiful style that came out of NYC in the late sixties...
I hope I’ve bought a little fresh thinking and technique to bear too. I’ll leave you to be the judge of that. The digital toolset, as ever, allows you to add layers of complexity, and fine tuning, that perhaps wasn’t previously possible. As ever
I find it easiest to discern in music. I’ve been listening to a lot of Laurel Canyon stuff, and later seventies stateside sounds, but however fabulous they may be, in many ways they can’t compete with the cut and shut digital styling of recordings from the past few years.
My youngest son has been play listing a lot of fabulous new music, that I may well not have stumbled across myself, and much of it has the most amazing production. Chelsea Cutler’s Your Shirt is a particularly good example.
Fascinated by her post-analogue production, I had a look on the boards, and found this brilliant explanation of what’s going on:
‘I hear this sound effect in a few different songs but it’s really apparent in “Your Shirt”. I’m talking about that synth-y voice-y thing that’s in the beginning as a lower part and higher part playing back and forth and that pops up throughout the song.
step 1: scream into a mic whilst recording
step 2: sample audio
step 3. slap some space designer and maybe eq it if you screamed too loud’
I love the idea of screaming too loud into the mike, and then eq-ing the result. I feel that’s exactly what I’ve been doing for a number of years! Go way over the top, and then dial it back in, to discover a place that’s still further out than you would’ve been able to reach if you’d come in from the other direction... not sure if that makes any sense, but it does to me!
Handpicked to show at The Other Art Fair presented by Saatchi Art in London
Artist featured by Saatchi Art in a collection