To see images larger click on them...Well, I've been working on
Disconnect a great deal & I've gotten a lot accomplished. First, I started with the figures (see previous entry) and made a stencil for placement. Next, I've attached the newspaper text for the bottom section and something new that I'm really excited about for the top. If you recall, I really wanted maps as a symbolic element to show the "wander lust" of the male figure or the desire to be in other places. I decided to keep the same composition but use the map to try and shape a figure almost in the window. The wall section is created with colored papers that I found that are just wonderful. Kelly suggested earlier to use teas to stain papers & Karen suggested doing kind of the same thing color wise that I did with
Intensity and these papers have some of those qualities. The colors they have are exactly the palette that I wanted and the imagery of old stamps & vintage travel postcards were almost too good to be true. They really add to the meaning of the work. I've limited text to the top to just key words. The bottom "fabric" area is rich with text that all deals with the woman's clinging to ideas of what was the relationship or dreams (often prompted by stereotypical definitions of the ideal relationship). The text is tinged with bits of the stamp (aka wanderlust, wanting something else) paper but is dominated by her definition of what the relationship provides. Two of the major words are
safety and
baby (family) with fear being hinted at throughout. I have another image of the text but it is glared... I will upload it later.
The map-man...the male figure gazes at what he is missing or could be. In case you are curious, yes the places that made up the window are significant.
The color palette of the stamps with select text for the wall section near the male.
Here are some of the fabric as it is being painted. Again, trying to find the balance of paint & transparency is a challenge. I feel as if I'm overpainting in some areas already and I just got started.
Another close-up of the fabric folds near the clinching fist of the female. The folds get less "aggressive" near the legs and the values get lighter. This is to pull the eye back to the female. Does it work? You tell me...
To see images larger click on them...Well, I've been working on Disconnect a great deal & I've gotten a lot accomplished. First, I started with the figures (see previous entry) and made a stencil for placement. Next, I've attached the newspaper text for the bottom section and something new that I'm really excited about for the top. If you recall, I really wanted maps as a symbolic element to show the "wander lust" of the male figure or the desire to be in other places. I decided to keep the same composition but use the map to try and shape a figure almost in the window. The wall section is created with colored papers that I found that are just wonderful. Kelly suggested earlier to use teas to stain papers & Karen suggested doing kind of the same thing color wise that I did with Intensity and these papers have some of those qualities. The colors they have are exactly the palette that I wanted and the imagery of old stamps & vintage travel postcards were almost too good to be true. They really add to the meaning of the work. I've limited text to the top to just key words. The bottom "fabric" area is rich with text that all deals with the woman's clinging to ideas of what was the relationship or dreams (often prompted by stereotypical definitions of the ideal relationship). The text is tinged with bits of the stamp (aka wanderlust, wanting something else) paper but is dominated by her definition of what the relationship provides. Two of the major words are safety and baby (family) with fear being hinted at throughout. I have another image of the text but it is glared... I will upload it later.
The map-man...the male figure gazes at what he is missing or could be. In case you are curious, yes the places that made up the window are significant. 
The color palette of the stamps with select text for the wall section near the male.
Here are some of the fabric as it is being painted. Again, trying to find the balance of paint & transparency is a challenge. I feel as if I'm overpainting in some areas already and I just got started.
Another close-up of the fabric folds near the clinching fist of the female. The folds get less "aggressive" near the legs and the values get lighter. This is to pull the eye back to the female. Does it work? You tell me...
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