Boundless (29 panels), August 2016 - January 2017, following a six month hiatus after the portrait series, Nouvelle Vous.

Nothing is absolutely boundless. That kind of freedom is idealistic. "boundless" was the working title that didn't go away.

All the pieces in the show are small, basically 9 x 12 in (23 x 30 cm) and all are finished with acrylic medium as varnish. I was and am exploring the possibilities of acrylic and to speed the process I worked on small, strong, light wood ply surfaces.

Time is precious.

I used acrylic as a final spray varnish over pen, graphite, charcoal, chalk, wood, and canvas; as transparent gloss or translucent mat medium for fiber mash, marble dust, mica flakes, and permanent colour pigments. Acrylic, unlike oil paint, is not corrosive and can be painted directly upon wood, paper, cloth. Acrylic is also a glue which can be used to laminate canvas (or almost anything - theoretically like diamond dust) to the wood surface. It becomes, in the final stages of the multimedia thing, a unification, a sprayed fixative, and protector of almost any application. In these techniques my production became nearly boundless... objectively and, paradoxically, unbound.

The subject matter comes from my own limited experiences and vision(s). I made absolutely no attempt to reduce myself to a singular message, a nationalist stereotype, a school of art, or to apply bait paint to commercial or government sponsored, social realist hooks. I painted to suit myself and my own moods and experiences. Mostly I painted subjects that give me pleasure.

Basically 23 x 30 cm (9" x 12") because - towards the end of the series I found myself making subconscious diptych and tryptych compositions of the 9" x 12" (23 x 30 cm) panels. Finally I was cutting my next larger size 18" x 24" (46 x 61 cm) in half making an elegant elongated panoramic rectangle of 9" x 24" (two 9 x 12's). Surprisingly, several of the composite/cubist arrangements with panels from the early with the later time frames of the series were done unconsciously; like flashes of art school revelatory and evolutionary defiance.

The present art can be combined with elements of the past art creating a richer mix and an expansion amounting to greater freedom and a larger scope of possibilty.

I committed shocking acts of unintentional and highly unfashionable obeyance to the working habits of of the Montreal master studio instructors who were "Automatiste" or, en anglais, "Abstract Expressionists" and "Colour Field Painters" (in the U.S.A. artspeak: "Post-Painterly Expressionists") who worked as the writers, like Henry Miller, in existential "stream of conscious", jot down the first thing that comes to your mind. Maybe revise it later.

I felt, and feel like...

I busted out!

 

 
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