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CENTRALIZations
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 is silkscreen also known as serigraphy.
The idea for these prints comes from my interest in the ubiquity of letter forms and the power of centralization as a formidable structure symbolizing beauty and unity. Many editions of sixty are produced with a few artist proofs. Black and white are the colors selected for this intentional contrasted series; the same used for letter forms in newspapers, magazines, and books.
Many prints are sold; still many remain and those were put away. Most of the editions were printed on white paper with black ink. However, a few editions were printed on black paper with white ink.
Soon after, a departure took place from black and white contrasted prints to another series, using spectral colors and the same imaged-screens used for black and white prints. These image-screens are printed multiple times in different combination of colors to explore untested interactional effects on one another. Unlike the black and white prints, the only control intended was to have every-image-screen centered on the previous screen, without having any predetermined organization in mind. Even so, there was the hope, although slim, that the possibility of chance would intervene banishing the likelihood of chaos occurring.
CENTRALIZED COMPOSITE #2 Serigraph, 1966
A few came close to what I had hoped for that spurred me on to print more hopeful outcomes. With every printing that followed, the amount of failures increased so much that continuing on was no longer an option. Disheartened and blinded by these not-so-unpredictable failures, and like many of the unsold black and white edition prints, they too fell into a forgotten hole of time . 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 a basement studio--in boxes, under tables, covered over with papers, and in portfolios. Finally, the dreaded cleanup day arrived. Surveying the messy chaotic studio situation seemed to suggest a similar analogous situation: that of the disorganized colored prints I had put away decades ago.
While reorganizing the studio, I came across these forgotten prints and placed them in protective portfolios so I could become reacquainted with them later. I felt responsible for their longstanding neglect, but at same time felt good for saving them from possible destruction. It also became evident the Composite Series still had a potential for further development beyond its current state of failure, to one that could be healing and transcendental.
CENTRALIZED COMPOSITE # 2 Serigraph, 1966
See B&W above before color was added.
There was so much to be done to reinvigorate this large deserving body of prints. Color again would serve as a means of reaching the place of beauty and unity
I began this long reconstructive process by returning to the remaining black and white centralized, edition-prints. 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 look. Ring-like patterns were formed echoing the outer contours of the central form. A force of energy griped the center and outer profiles, expressing peaceful rippling movements, concentrically outward. Other prints would follow, this time using a technical pen and black ink that was a linear enhancement approach, . See print on right as an example.
CENTRALIZED COMPOSITE V 1966, 1984 Serigraph/Pen & Ink, Framed: 24.75" Square
A decadeor so later, after the linear enhancements were done, I decided to use color again, 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 organized into a 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 challenging, even daunting then was anticipated. This was mainly due to the interactive complexity of the selected hues against a preexisting chaos of colors. Finding the right mix of colors was an ongoing process. Many prints were processed successfully; still many waited remaining hopeful, for 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