Portfolio > In Time of Silver Rain

In Time of Silver Rain (Green 3)
oil stick and acrylic on paper
5.5" X 7"
2010
Untitled (Green)
oil and silver on panel
16" X 12"
2011
Untitled (White)
oil and silver on panel
24" X 18"
2011
Untitled (Blue and Orange)
oil and silver on panel
5" X 7"
2011
Untitled (Yellow)
oil and silver on panel
7" X 5"
2011
Untitled (Black and Green)
oil and silver on panel
8" X 10"
2011
Untitled (Purple)
oil and silver on panel
10" X 10"
2011
Untitled (Orange and Black)
oil and silver on panel
14" X 11"
2011
Untitled (Pink and Purple)
oil and silver on panel
20" X 16"
2011
Untitled (White 2)
oil and silver on panel
24" X 18"
2011
Untitled (Orange and Blue)
oil on panel
20" X 16"
2011
In Time of Silver Rain (Green 6)
oil stick and acrylic on paper
5.5" X 7"
2010
In Time of Silver Rain (Green 5)
oil stick and acrylic on paper
5.5" X 7"
2010
In Time of Silver Rain (Turquoise Yellow)
oil stick and acrylic on paper
10" X 10"
2010
In Time of Silver Rain (Green 1, possibly Hawaii)
oil stick and acrylic on paper
14" X 20"
2010
In Time of Silver Rain (Green 4)
oil stick and acrylic on paper
5.5 X 7"
2010
In Time of Silver Rain (Yellow and Purple)
oil stick and acrylic on paper
14" X 14"
2010
In Time of Silver Rain (Copper Yellow Black White)
oil stick and acrylic on paper
11" X 15"
2010
In Time of Silver Rain (Blue Silver)
oil and silver on panel
9" X 12"
2011
Untitled (Pink and Yellow)
oil and silver on panel
8" X 10"
2011
Untitled (Pink and Black)
oil on panel
16" X 20"
2011
Untitled (Purple 2)
oil on panel
11" X 14"
2011
Untitled (Pink and Blue)
oil and silver on panel
5" X 7"
2011
Untitled (Yellow and Green)
oil and silver on panel
10" X 10"
2011

The works comprising In Time of Silver Rain, are created under a set of rules and parameters, relying on the opposites provided by chance and systems: Chance within a system and systems that rely on chance.

In the works on panel, three rules were observed:
1. Three brushes.

2. Three strokes (circular brush drag, linear brush drag, back and forth hand stroke).

3. Three materials (silver, oil, wood panel) .

The palette was allowed to be intuitive. The composition was allowed to be intuitive. The paintings were treated as physical objects existing in space, being built up using the three rules, but allowing for an exploration of the potentially infinite possibilities within this structure/system. During the process, trends emerged and editing occurred only once a substantial body of over forty works was completed--though additional trends continue to be explored as branches of the project. Many of the completed works continue to rely on chance as the unsealed silver reacts to the pigments in the works causing chemical reactions that affect the tarnishing of the silver. In a sense, the works may never be complete, but will constantly rely on their environment to evolve/grow. As such, they are not static images, but objects existing in time, being affected by space over their lifetime.

In the works on paper, the exploration of the mark is paramount. Initially, direct and indirect marks rely on a combination of chance as they are placed on a ground and then imprinted onto a sheet of paper, much like a monotype. As the pieces are made, a vocabulary of marks emerges. Nuances in pressure, stroke, direction, placement, "ghost" imprints, and additional direct marks are carefully studied for their effect. Attempts at duplicating and exploiting these nuances to create additional works are undertaken. Slowly, a language of mark-making evolves. Because of the process, though, this language is not static, but loosely harnessed, at best, to create an ongoing project. Unlike Latin, it is not finite and dead, but alive, flourishing, thriving, and ever-changing.