ANTIQUITY

I have always borrowed images from books, photos, and the internet. A series of fifth-century Athenian drawings begged to be interpreted in digital form. I’ve used drawings from antiquity as my primary layer, then manipulated the finished piece with the addition of many more layers. The drawing is one layer and the finished images is a manipulation of many layers. For me, the base drawing or motifs have resonance in the digital medium. For example, in “Euphiletos Race” the panathenaic runners began as a Xeroxed image that I stretched and expanded, before I collaged it onto a wood panel. However the same stretched image of runners is used in several other finished digital pieces. The changes made in each layer are influenced by the size of the image layer, a color layer, or a texture layer. Each change has an effect on the finished image. A background layer of tree tops comes into prominence depending upon the filter applied to a layer. In “Painter of London Bull,” a background layer of treetops comes into prominence and merges with the bull itself. The subject is not merely silhouetted but is within the trees and a part of the trees.
It took me a long time to accept a legitimacy of giclée prints. I use a high quality print service that will transfer images onto canvas, rag paper, acrylic panel, or aluminum.