The Grid Project – Part 3 – Translating into Paint

The Grid Project – Part 3 – Translating into Paint

From the start, I knew that I wanted to make paintings from the broken television “grid” photographs, but they posed a lot of technical difficulties. To begin with,  I paint in oils. Making a clean stripe in oil is more difficult that with acrylic paint. With acrylics you can mask out your stripes with tape and then seal it with a clear acrylic layer, then add your color and it won’t bleed. That pretty much insures that you will have a sharp edge.

"Gate", 18.5 inches x 34 inches, photograph, archival inkjet print, ©Leslie Parke 2018

“Gate”, 18.5 inches x 34 inches, photograph, archival inkjet print, ©Leslie Parke 2018

It was the atmospheric look of the background that most held my interest in the photographs. How to achieve that? I thought a spay gun might work, but having once tried to spray paint chair in my living room, I know that the paint, suspended on air goes everywhere. In very short order I could destroy all the work in my studio, as well as, stacks of paper, rolls of canvas and other materials. I would need a spray booth.

A person in my building, Keith Davitt from Thirsty Cat Fountains, suggested a spray painter that achieved its effect through vibration. He used it to glaze his fountains. It was much less likely to permeate the air in the studio. I still haven’t settled on a solution, but I am leaning toward an airbrush, like a spray gun, but much more refined and allegedly easier to control.

I wasn’t going to let a need for new equipment stop me. I thought of other ways I might achieve a similar effect.

Rothko mixed pigment with rabbit skin glue in an effort to achieve both depth and luminence. (The glue is what artist’s used to size their canvases. First layer was usually the glue by itself, followed by pigmented glue called gesso.) Agnes Martin worked with very thin acylic paint.

I thought of all the ways I might get the atmospheric background. Spray painting was one way, glazing (using thin layers of transparent pigments suspended in medium), coloring rabbit skin glue, all seemed possible. But as I was set up to do some pouring in my studio I thought I would try that first.

poured background

Once I poured in the background I started adding large areas of color.

I knew that I don’t really have the personality to make absolutely perfect stripes. With oil paint I was anticipating that some of the color would seep under the tape. Like Barnett Newman, I was going to live with it. You wouldn’t think choosing the right tape to make your stripes would be that great of an issue, but it turned out to be. There is the issue of the stickiness of the tape. Will it pull off the painted surface below it? Will it block out the layers of paint over it?  Will it stick to the canvas and not pull off at all? And then there was the issue of the width of the tape. You can usually find half inch tape at the harware store, but any smaller than that you need to scour the internet.  The main issue for me was to get the tape to stick.

popping off

While I fololowed the photograph in a general way, I was not entirely sticking to the color scheme. I wanted a little more vibrant color in the final piece.

process

What followed next was not what I expected. I would lay in the colors and then see that this passage was working, but that one wasn’t. I felt as though it was like playing music. Passages would work, but then how did it work with the whole piece. And other parts were just plain wrong, but why? The painting was tutoring me in what it needed. Here is what it needed: the “ground” needed to be organic, the poured surface relating the the quality of the atmosphere in the original photograph, as well as, being a signifier that this was made by hand and not machine. Colors next to each other had to work together, but there were also passages across the surface of the whole painting that needed to work together. Unlike the “flat surface” that painting has been emulating since the begining of the last century, this painting sat not on the surface of the canvas, but in space. For the whole painting to work, certain stripes cleved to an imaginary plane, while other moved in and out of that plane.

Here are some of the versions it went through. I hadn’t expected the process to be so specific. That is, only certain colors of certain values and certain instensities worked in certain places. Change one, you had to change many of the other ones until it all worked together again. Here is the final version:

"Gate", 40 inches x 72 inches, oil on canvas, ©Leslie Parke 2018

“Gate”, 40 inches x 72 inches, oil on canvas, ©Leslie Parke 2018

 

You may notice that the original photograph also had horizontal stripes. This canvas was not the right proportion to add those stripes, but there was also the consideration that if I attempted to add them and failed I would have ruined weeks of work. I am now in search of a way to also incorporate those stripes.

From Farm to Canvas: Painting the Rural Landscape Slant

From Farm to Canvas: Painting the Rural Landscape Slant

I live in a very rural part of New York State surrounded by farms.

The landscape influences my work, but not always in the ways you might imagine. I pass this farm on a back road to the next town.

I have stopped a few times to photograph it. What I really love is how the corn crib looks in front of the silo.

Corn crib in front of silo

Corn crib in front of silo.

It is a curved grid in front of a curved grid. In this photo it appears quite abstract. I love a subject, that is completely real and seems completely abstract.

In the final painting I kept the grid on the right and added a grid from an industrial garage door in New York City on the left.

Again it would not surprise me if you could not determine the source of the image.

It was the contrast of the flat grid and the curved grid that propelled me.

It challenges one’s perception on several levels. The first being that I painted a perfectly representational painting that is utterly abstract.

The flatness on one side and the barely perceptible curve on the other challenges one’s sense of space. Both of these things create a subtle disruption for the viewer.

Silo, 64 inches x 94 inches, oil on canvas, © Leslie Parke 2014

“Silo”, 64 inches x 94 inches, oil on canvas, © Leslie Parke 2014, Private Collection, Houston.

Leslie Parke painting Silo

Painting “Silo”

Conversations with  Giotto

Conversations with Giotto

I’ve been having conversations with Giotto di Bondone [c. 1267 – 1337, born in Florence, Italy] since I was twelve years old and my class studied the Rennaissance. The conversation became obsessive when in 1987

I created a cycle of paintings recreating the paintings of the Arena Chapel on seven shaped canvases, the largest of which is 18 by 24 feet.  [You can see them here.]

"The Last Wall", oil on shaped canvas, 18 feet x 24 feet, 1987, by Leslie Parke. Painting on shaped canvases.

“The Last Wall”, oil on shaped canvas, 18 feet x 24 feet, 1987

There are three stories about Giotto. One is that as a child as he drew a sheep on a rock, Cimabue saw this and was impressed and invited him to become his apprentice.

Another is that one day while Cimabue was out Giotto painted a fly on Cimabue’s self portrait. It was so realistic Cimabue tried to whisk it away several times. Many years later, the fly became a symbol of the artist and was inserted frequently into Dutch still life paintings.

But it is the third story that has occupied me recently.

 Vasari [the chonicler of “Lives of the Artists”] relates that when the Pope sent a messenger to Giotto, asking him to send a drawing to demonstrate his skill, Giotto drew a red circle so perfect that it seemed as though it was drawn using a pair of compasses and instructed the messenger to send it to the Pope.

The messenger departed ill pleased, believing that he had been made a fool of. The messenger brought other artists’ drawings back to the Pope in addition to Giotto’s. When the messenger related how he had made the circle without moving his arm and without the aid of compasses the Pope and his courtiers were amazed at how Giotto’s skill greatly surpassed all of his contemporaries.[6] [Wikiwand]

This winter when I started to paint circles, of course I thought of Giotto, but never more so than when I began to draw them on a large canvas.

To do this I sort of dropped into a meditative state. If I thought too much about what I was doing my mind would interfere with my hand.

Conversations with Giotto, 46 inches x 94 inches, silver graphite and blackboard paint on canvas, © Leslie Parke 2018

Conversations with Giotto, 46 inches x 94 inches, silver graphite and blackboard paint on canvas, © Leslie Parke 2018

I used silver graphite so that the line would catch the light. Then I did this version:

"Silver LIght" , 46 inches x 94 inches, silver graphite and black gesso on canvas, © Leslie Parke 2018

“Silver LIght” , 46 inches x 94 inches, silver graphite and black gesso on canvas, © Leslie Parke 2018

I wanted a field that was made from a line.

I thought, had “the string theory” proven to be true, it might look like this. Here is a close up:

"Silver Light", detail

“Silver Light”, detail

The Start of “The Grid Project”

The Start of “The Grid Project”

All projects have their precedents, and The Grid Project is no exception. For many years I used photography as an aid to my painting. I kept looking for subjects that were more and more abstract. I want the image to take on a new meaning as an abstract construct that has nothing to do with the subject.  But I also want to retain in the image some of the things I explored in my painitngs: transparencies, translucencies, reflections,  and qualities of light.

Here are some samples:

Blue Column, 34 inches x 25.5 inches, archival ink-jet print, photograph, © Leslie Parke 2015

Blue Column, 34 inches x 25.5 inches, archival ink-jet print, photograph, © Leslie Parke 2015

 

"Tutti Fruiti", 34 inches x 24.5 inches, archival ink-jet print, photograph, © Leslie Parke 2015

“Tutti Fruiti”, 34 inches x 24.5 inches, archival ink-jet print, photograph, © Leslie Parke 2015

 

"Taut", 27.5 inches x 34 inches, archival ink-jet print of photograph, edition of 6, © Leslie Parke 2016

“Taut”, 27.5 inches x 34 inches, archival ink-jet print of photograph, edition of 6, © Leslie Parke 2016

I am also interested in structure:

Particle Wave, 25.5 inches x 34 inches, archival ink-jet print, photograph, © Leslie Parke 2016

Particle Wave, 25.5 inches x 34 inches, archival ink-jet print, photograph, © Leslie Parke 2016

 

"Green Fence", 25.5 inches x 34 inches, photograph, archival inkjet print, ©Leslie Parke 2017

“Green Fence”, 25.5 inches x 34 inches, photograph, archival inkjet print, ©Leslie Parke 2017

The question is, “Where do I go from here?” [to be continued]