In working out the encryptions for my latest series of word puzzle acrylic paintings, there were a number of constraints that were necessary for the compositions to have the desired effect. One of the most important was the emission of the letter “Q” because when that letter is included without the following “U” it looks like something is wrong. The viewer should be able to view the paintings and combine the letterforms to create their own words and expressions easily.
Installation of artwork is a demanding and specialized skill. I’m not talking about the trendy and slightly annoying realm of Art Installation you may be familiar with, featuring tires mounted with ladies nylons hanging from the backbone of a taxidermied zebra, for instance. I’m talking about Art Handling & Moving, Art Installation, Art Placement, Art Hanging, familiarity with Picture Hanging Hardware, Temporary Adhesives, Signage, Labeling and Cleaning. Sounds like the job description on a resume, doesn’t it?
In the world of art materials, things keep getting better and better. 100,000 years ago, in Blombos Cave in South Africa, a complete toolkit for grinding pigments and making a primitive paint-like substance has been recently discovered. Egyptians mixed pigment with gums or animal glue, which made them workable and fixed them to the surface being decorated over ago, and they still possess their brilliant color 2,000 years later. We have come a long way.
Behold One Rose my submission to the Sebastopol Center for the Arts 2017 Members Show Small Work, Big Deal. In the style of a Victorian parlor amusement, the digital print of a rose is presented as a stereograph against a black velvet background surrounded by a cheesy gold frame, along with an equally tacky gold chain supporting a set of 3D viewing glasses. It is a modern example resulting from the history of stereoscopy.
Aoccdrnig to rscheearch at Cmabrigde Uinervtisy, it deosn’t mttaer in waht oredr the ltteers in a wrod are, the olny iprmoetnt tihng is taht the frist and lsat ltteer be in the rghit pclae. The rset can be a toatl mses and you can sitll raed it wouthit a porbelm. Tihs is bcuseae the huamn mnid deos not raed ervey lteter by istlef, but the wrod as a wlohe.
In choosing a font for the current series of cryptographic paintings, I settled on one of the more durable and popular typefaces, Caslon. Created during 1725 by William Caslon at his foundry in Sheffield, England, it was based on some of the current Dutch fonts of the time, and includes well-developed serif characters that aid in legibility and aesthetic value.