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[Art Elements] (on-going tracts)

Stuff

This page provides the "as in progress" ntoes of my project for Fall 2006

It has two parts:

The micro:  "Tree Shadows in front of Green Hall"

The macro:  "Various observations concerning the Mysterious Orb"

Next: Image Listings
Jump down to:  {Artist's Statement concerning the present work}

The Primary Image



"country side"  (ink on paper, approx 14"x11")
(over-all compositional design) b/g (back/ground)




"We do not realise"  (ink and #9B pencil on paper, approx 14"x11")
(example of b/g with f/g (fore/ground) text, etc)


Compositional Elements
(essentially the "forms" (letters) of
the caligraphic composition; cf/qv, Pollock's 
calligraphic style, etc)



"single ell" (ink on paper)  (ink on paper, approx 14"x11")




"double ell"  (ink on paper, approx 14"x11")




"script L" (ink on paper, approx 14"x11")




"geh" (9B pencdil on paper, approx 14"x11")




"mu" (ink on paper, approx 14"x11")




"mu-2" (9B pencil on paper, approx 14"x11")




"backward beta" (ink on paper, approx 14"x11")




"upper R" (ink on paper, approx 14"x11")




"upper-R-2" (9B pencil on paper, approx 14"x11")




"traveling 4" (9B pencil on paper, approx 14"x11")
(probably will NOT be used; ref only)




"trial compostion 001" (ink on paper, approx 14"x11")




  
Artist's Statement

The primary purpose of this project is to futher explore the
concepts of f/g (fore/ground) and b/g (back/ground) elements
in line drawings.

It is the intension of the artist that these drawings (actually
cartoons or characitures, as such) portray the following 
sensibilies:

1) Two primary (and contrasting) line qualities:

   a) The b/g consisting of a frenetic, scratch, and
      thin line overtly portraying a country-side, road
      landscape. The extreme f/g consisting of road posts
      and the extreme b/g a swatch of trees.

   b) The surreal element is the so-called "Mysterious Orb"
      (and hence the title or at least sub-title of the 
      over-all work). This will be using a much broader
      "brush" than the other line-work, etc. Ostensibly,
      the orb is a smudged circle with at least some
      spherical content; ie, some 3-D conent as well.

2) Text will be a primary element of the palet to draw upon
   as needed. This (again) consists of a duality of contrasting
   elements:

   a) Normal, actual text. Mostly english, but drawing as needed
      upon any and all possible calligraphies, languages, etc.
      These (when in a foreign or artifical language) will provide
      either as part of the documentation or part of the 
      text-composition of the work itself translations.

   b) Punctuation (most notably, the semi-colon, ";") will be used
      as the textual counter-part of the mysterious orb.

   The textual content will be taken from any sources, including:

   a) Art criticism, texts, reviews, other artists' statements, etc.;
      eg, Marcel Duchamp's "Apropos of Readymades", various texts by 
      Linda Nochlin, Clemet Greenberg, etc.

   b) Philosophy, History, English, and other "artistic" venues of
      writtern works; eg, extracts from Thomas Merton, Alan Ginsberg,
      Emily Dickenson, Langston Hughes, etc.

   c) Possibly the use of equations from the various sciences; eg,
      the relativity and uncertainty principle equations, etc.

3) i am still working on the selection of fonts. On the one hand,
   to use a consistent (printed) font that is either traced onto,
   transfered, or collaged onto the matrix of the drawings would
   give a more "printerly" feel to the work. And yet, on the 
   other hand, my own penmenship (suffering as usual) would give
   it a much more realistic feel; ie, as if i were an anthropologist
   (or orb-ologis) in the field, recording first hand notes, etc.
   i can see that this will give much cause for thought. 

-- more later --

Frank

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