I copped a dramatically better mat cutter situation. I'm going to put these that I have on the displays. I finished building the displays, and painting them. I'm not satisfied with the paint job. I mottled it, but used to thick an application of paint. but Whatever, I can revise them later
right so, I need to clean up the work spaces and examine the pics I have. Really, I should re-frame them. Re-mat them.
Place needs to be cleaned up though. Also have to consider where I'll be selling. I have more frames coming today. What'd be great is if they get here before I go out.
I want to put 'palmetto' in a frame and photograph it, work it and print it. Be great on the display. Sometimes picture go on the display just as support for the exhibit.
So yes, where would I sell? If I go over my previous places, I could sell at Metropolitan Museum, Lincoln Center, Soho, Central Park West... I may have sold around MOMA, but it was too crowded. However, I'm not against it.
I put them up in the garage. Boy this paint job sucks, but it's the first layer. I'll throw something darker. Just have to remember to mix it with a lot of water.
Another thing, I should probably print little pieces of paper with info on them, title, year, provenance to put on the display, as well as something that could display title, year etc. on the rear the picture that I could tape on the back.
As I put up the pics here in the garage, I'm waiting for Amazon
Languorous is special.
Tried to remat oldalisque, but fucked it up. Feel like I'm stalling.
Working on the mats. I can't get that crap mat cutter to cut corners right. I just, after two days got it to cut straight lines. There were no instructions.
I can put some plaster of paris in the corners, and maybe file it straight, then spray paint it.
Textured mats are a thing.
“I had to let go of my own standards to try to support myself through this tough period,”
I've found that mixing plaster of paris with white paint is the best.
while the matting of the actual signed photograph is archival and acid-free, and can be immediately placed into exhibition, it is handcut and may contain imperfections and/or irregularities, which however it may add to the character of the piece, can be removed and the print reframed to a design more suitable to individual placement decor.
I think 'la fenetra' should be called, 'in the looking glass'
This framing and matting is taking it's toll on me. I'm using a cutter I found in my storage. some cheap shit not meant to cut windows. I'm going to be plastering the corners because they basically rip. The frames came though.
I think I'm going to use a smooth mosaic, I got sidetracked with the fresco mosaic, but the smooth as a reflection piece with the mannequins. using the lights from last night drive in the reflection. Along the lines of transformation, but continuing on. I'll need to go through my mannequins.
I'm thinking in particular of the other mannikens from transformation, using them, or another high angle, with the calf shot boots in a collage, with ground reflection from the rain, and some store front name and logo reflection
Some work still to be done on this. I want to put the stocking on the bed, fix the 'arms' of the arch, - brighten them. I may want to do more with the mosaic. It looks different just now though. Maybe offset the blurry area. I'm also going to insert a different one. Been doing the mosaics a bit different since I started this. Also may have to do something with the edges of the lady. Seem a little soft. Some cropping
I've got another draft of 'the last night drive'. There's more work to be done, and it's taking hours. But that's the way it is. Some times it's quick, and some times it's slow. The newer ones are faster. There's an argument to recreating the piece with a more workable mosaic, strip and layer the light artifacts.
I also started a new piece, the eiffel tower, which looks promising.
I do have to remember to get credit card ordering in order, as well as the printing/framing company.
also, these images need to be test printed.
