A few came close, which was deceptively encouraging, that spurred me on to print more—creating more chances for hopeful outcomes. With every printing that followed, the amount of failures increased so much that continuing was no longer a realistic option. Disheartened by many of these not-so-unpredictable failures, and like many of the unsold black and white edition prints, they too fell into a forgotten hole. It was time to move on.
Decades passed while both the edition-black and white and the failed multi-colored prints lingered out of sight in my studio--in boxes, under tables, covered with papers, and in portfolios. Finally, the dreaded cleanup day arrived. Surveying the messy chaotic studio situation seemed to suggest an analogous situation to the disorganized colored prints I had put away decades ago.
While organizing the studio, I came across these forgotten prints, and placed them in protective portfolios so I could become reacquainted with them. I felt responsible for their longstanding neglect. Saving them from possible destruction had become important to me. It also became evident the Composite Series had a potential for further development beyond its current representation, to one of healing and transcendence.
CENTRALIZED COMPOSITE # 2 Serigraph, 1966
See B&W above before color was added.
BEGINNING, PROCESS AND TRANSFORMATION
These Centralized Images were originally conceived and produced many decades ago. They have multiple dates—from 1966 to their date of completion and signing. The medium of preference was silkscreen also known as serigraphy. The idea for these prints came from my interest in the ubiquity of letter forms and the power of centralization as a formidable structure symbolizing beauty, harmony, and unity. Many editions of sixty were produced with a few artist proofs. Black and white were selected for this highly contrasted series; the same as for letter forms in newspapers, magazines, and books. Many prints were sold; still many remained and those were put away. Most of these editions were on white paper with black ink. However, there were a few editions printed on black paper with white ink.
Soon after, as a change of pace, I departed from the black and white prints, and embarked on another series using only spectral colors and the same image-screens used for the black and white edition prints. These image-screens were printed multiple times in different combinations and colors to explore untested effects on one another. Unlike the black and white prints, the only control intended in this procedure was to have every image-screen be centered on the previous screen, forming a centralized linkage, without any predetermined organized outcome. Even so, there was the hope, although slim, the possibility of chance intervening against the high odds for decomposition to occur, some over-printings would, however surprisingly, have an acceptable result.
CENTRALIZED COMPOSITE #2 Serigraph, 1966
There was so much to be done to reinvigorate this large deserving body of collective prints. Color would serve as the transcendental means of reaching a place of beauty, creativity, and art.
I began this long reconstructive process by returning to the remaining black and white centralized, edition-prints that remained. I chose to start with prints that came from the B&W series. Unlike the others, Centralized Composite V was printed on black paper with white ink. Interesting linear elements were added spontaneously as an interest-added feature to transform the images beyond their ordinary features. Ring-like patterns were formed echoing the outer contours of the black central form. A force of energy grips the center and outer profiles, expressing the peaceful rippling moments of contemplation, concentrically moving outward. Other prints would follow using this linear enhancement approach, a technical pen and black ink. See print on right as an example.
CENTRALIZED COMPOSITE V 1966, 1984 Serigraph/Pen & Ink, Framed: 24.75" Square
A decade later, after the linear enhancements were done, I decided to use color, and acrylic paint to create a distinctive atmospheric mood of expressive beauty on the black and white composite edition prints. Only the white areas would receive color. My tools were small detail brushes: sizes 1, 2, and 3. Many prints in this series were transformed into combinations of colors that worked well together, while maintaining the original black areas of the print. Enough prints were finished in this series to prompt me to turn my attention to the last remaining series.
Finally— I had to face the greatest challenge of all: the miserably failed multicolored print series. Finding color solutions proved to be a lot more demanding then was initially anticipated. This was mainly due to the interactive complexity of the selected hues against the preexisting chaos of colors, interacting in unsuccessful ways. Finding the right mix of colors was an ongoing process. Over time many prints were processed successfully; still many remained hopeful, waiting their turn to become a vital spirit again.
See print on right as an example.
SEE SLIDE SHOW BELOW
CENTRALIZED IMAGE 12, 1996, 2010 Serigraph/acrylic