Electric Wizard’s Zombie Powder seemed like a good selection in the studio today, given my painting topic.
Found this on youtube one day – I find it incredibly relaxing and meditative.
Starting a new painting today. This time it’s going to be in oil, and it will probably take much longer than my recent work with watercolor. The pattern was created in Processing using some code I worked on over the summer with my research assistants Ben Jack and Ian Loh. It is basically a pattern/tessellation program; I upload an ink drawing (or any image) and it ‘swedes’ it out into a pattern. A click of the button yields a slightly different variation with different color schemes (thanks Karsetn Schmidt / ToxicLibs!). After a few hours sketching with this, tweaked it in Photoshop using puppet-warp, it was then projected onto the canvas where I roughed it out in acrylic. Now time to refine it over the next few weeks in between my small watercolor projects.
If you live in New Zealand, a 40ml tube of Cobalt Blue oil paint (high quality, like Sennelier) could set you back $100. Fuck that.
And while some brands, like M Graham have undisputed quality in terms of texture, lightfastness, viscosity, age-resistance, many big-name manufacturers (like Winsor and Newton) are adding more and more crap to their paint in order to, you guessed it, increase their profit margins. Making your own paint is not hard, can be of very high archival quality (once you get the hang of it) and save you hundreds of dollars. I get all of my pigment from Kremer in New York City and Sinopia in San Francisco. Making oil and watercolor are particularly easy. Some day soon I want to try making some casein and acrylic.
watercolor on paper, 2014
The culturally relative nature of hand gestures rapidly give way to a singular meaning. Artists like myself vie for the binary thumbs-up approval of creative expression: limits of quality, and possible income, are achieved by accumulating exponential levels of likes, plays, views and re-tweets.