Comments on: Odi Profanum Vulgus http://artandperception.com/2007/03/odi-profanum-vulgus.html a multi-disciplinary dialog Thu, 08 Jan 2009 16:23:05 +0000 http://wordpress.org/?v=2.6.1 By: Sunil Gangadharan http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-10062 Sunil Gangadharan Fri, 30 Mar 2007 20:09:01 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-10062 Clairan, For the face, I used thick dabs of paint without any mixing oil. Maybe that is why the texture is accentuated... Clairan,
For the face, I used thick dabs of paint without any mixing oil. Maybe that is why the texture is accentuated…

]]> By: Clairan http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9948 Clairan Thu, 29 Mar 2007 21:10:36 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9948 I am intrigued by the texture which almost looks tufted like a rag rug. I am intrigued by the texture which almost looks tufted like a rag rug.

]]> By: Sunil Gangadharan http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9938 Sunil Gangadharan Thu, 29 Mar 2007 18:21:18 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9938 Geoff, Thank you for your comments... I needed this work to be raw and urgent. In fact the power of the paintings stems from the fact that the head is disembodied and the drips surround the face. A more gradual background would have blunted the sharpness. I like the work that you produce - in fact I was intrigued by your latest self portrait... The body bag portraits have been going on for some time - I remember... Geoff,
Thank you for your comments…
I needed this work to be raw and urgent. In fact the power of the paintings stems from the fact that the head is disembodied and the drips surround the face. A more gradual background would have blunted the sharpness.

I like the work that you produce - in fact I was intrigued by your latest self portrait…
The body bag portraits have been going on for some time - I remember…

]]> By: Sunil Gangadharan http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9936 Sunil Gangadharan Thu, 29 Mar 2007 18:13:45 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9936 June, I will try my hand at mono-printing. It does sound like a very good idea (especially when you are not too sure what might be the output at the end)... although I may not be too happy with the results... June,
I will try my hand at mono-printing. It does sound like a very good idea (especially when you are not too sure what might be the output at the end)… although I may not be too happy with the results…

]]> By: Geoff Krawczyk http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9800 Geoff Krawczyk Wed, 28 Mar 2007 03:23:41 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9800 Sunil, I agree that you should take a stab at mono-printing. If anything, it provides a quick way to make studies of the colorful work you do. I would recommend using a thin, liquid acrylic paint, and adding a silkscreen medium, available at any good art supply house. The longer you can keep the paint from drying, the better. I really like this image you've made. There's a sense of urgency and dread in the high-key color and the brazen technique. I believe this seems more raw than some of your other work, which has a much more ordered, methodical feel. This image makes me think of "Big Brother is Watching You" posters for the post-modern world. The seedy and corrupting influences of this man, his ilk, and his legacy are literally gushing forth. I could dissect the different psycho-associative imagery I find within the head but i think it's sufficient to let each viewer discover his/her own detail. I only wish that there was more of a connection between the back- and foreground. The floating head has a certain power but the whole painting has a bit of a cut-paste look. I tend to favor an all-over approach to the canvas, however, so who knows? Sunil,

I agree that you should take a stab at mono-printing. If anything, it provides a quick way to make studies of the colorful work you do. I would recommend using a thin, liquid acrylic paint, and adding a silkscreen medium, available at any good art supply house. The longer you can keep the paint from drying, the better.

I really like this image you’ve made. There’s a sense of urgency and dread in the high-key color and the brazen technique. I believe this seems more raw than some of your other work, which has a much more ordered, methodical feel. This image makes me think of “Big Brother is Watching You” posters for the post-modern world. The seedy and corrupting influences of this man, his ilk, and his legacy are literally gushing forth. I could dissect the different psycho-associative imagery I find within the head but i think it’s sufficient to let each viewer discover his/her own detail.

I only wish that there was more of a connection between the back- and foreground. The floating head has a certain power but the whole painting has a bit of a cut-paste look. I tend to favor an all-over approach to the canvas, however, so who knows?

]]> By: June http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9493 June Sat, 24 Mar 2007 05:33:17 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9493 I have actually done monoprints (on fabric with acrylic paint) that were 3 feet wide and 6 feet long -- that was the size of the table, which I used as if it were a piece of glass. I had to work fast because the paint wanted to dry on me. (And clean up fast, too, to save the table top). I think, Sunil, you might find the technique interesting -- it has, as Bob commented, some element of serendipty. You are never quite sure what will happen. My table was topped with that fake white stuff, so it wasn't very precious. I think that any big piece of flat solid material would work, particularly if you painted it with a bit of gloss paint. If the surface has texture (as wood would) that could become part of the final image. I have actually done monoprints (on fabric with acrylic paint) that were 3 feet wide and 6 feet long — that was the size of the table, which I used as if it were a piece of glass. I had to work fast because the paint wanted to dry on me. (And clean up fast, too, to save the table top).

I think, Sunil, you might find the technique interesting — it has, as Bob commented, some element of serendipty. You are never quite sure what will happen.

My table was topped with that fake white stuff, so it wasn’t very precious. I think that any big piece of flat solid material would work, particularly if you painted it with a bit of gloss paint. If the surface has texture (as wood would) that could become part of the final image.

]]> By: Sunil Gangadharan http://artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9363 Sunil Gangadharan Thu, 22 Mar 2007 19:27:06 +0000 http://www.artandperception.com/2007/03/odi-profanum-vulgus.html#comment-9363 Wow, that is an interesting technique, Bob... I am not too sure if that will work for the canvas sizes that I typically work in - 4 to 5 feet in height...(I guess just take bigger pictures and do the whole pressing by hand thing...). Interesting technique though... Wow, that is an interesting technique, Bob…

I am not too sure if that will work for the canvas sizes that I typically work in - 4 to 5 feet in height…(I guess just take bigger pictures and do the whole pressing by hand thing…).

Interesting technique though…

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