Sunday, August 8, 2010
I have printed these different scenes on cotton sateen, and am now cutting them up and reassembling the figure, with the background buildings now taking on new shape. In the photo above, I have indicated where the line of the building forms part of the figure. In the arm, a building's curve delineates where shadow falls.
Many questions arise. How much do I want the building to "echo" the shape? If I follow all shadows, and all body angles, the underlying piece will necessarily be composed of rather small sections, pieced together like a contour map of the body.
I rejected this approach. What attracts me about Frank Gehry's creation is the broad expanse of line, sometimes curved, sometimes straight, never wholly predictable. Those lines would disappear were I to use small pieces.
Larger pieces present another problem, though. One long arc may follow the body's architecture, but another adjacent arc may not relate to the overlaid body form at all. I have opted to embrace this, looking to color, as well as form, as my principles guiding my piecing. The end result may not be successful, but this is my method for now.
Here is a peek at how I am auditioning the cloth: