Salon 50 // Output & Fabrication

Action.

Hello and welcome to the Techspressionist Salon and this is Salon number 50. So it's been going for a while now and I am very pleased to welcome a guest moderator for this evening's session, Cynthia Beth Rubin, who proposed the topic. And without further ado, I'm going to hand the microphone over to Cynthia.

Thanks, Colin. It's so great to see this group here and I'm really happy to have this discussion. So just to say at the outset, we're not, I mean, everyone's interested in the aesthetics and the source material and how people arrive at their imagery and all that's super important. It's not actually the topic for tonight. Many of us have already presented about that. And my suggestion is that for tonight, if you have a question about source material, aesthetics, goal with the artwork, et cetera, that you put that in the chat. And then at the end, if we have time, we can return to that. And it also means that you can engage with the people offline because I'm sure there are other people who would like to come up. But the reason that we wanted to talk about this, actually for myself, this was very much stirred as a topic by seeing the Expressionists show in person.

Roz Dimon

As many of you may know, I unfortunately had COVID. Everybody has their turn at the night of the opening. And so I wasn't able to come and see everybody in person and celebrate as much as I wanted to. But we had to come up with something that was different from what we were seeing from the audience. So this is going to be an exciting discussion. This is going to be an exciting discussion. And thanks to Roz's generosity in housing me, I was able to go at the time of picking up and spend some time with the exhibit. And I was really struck by the fact that we had so many different ways of output and presenting our work. And it's something that I personally have been struggling with. And I think that many of us struggle with that. I've been doing digital work since the days when the only option was to photograph the computer monitor and go to a photo lab.

Roz Dimon

And ever since it's gone to something else. And actually, Greg Little curated a show that I was in, in those days of photographing the screen and going to a photo lab. And ever since then, I've been struggling with different methods. And so I've been struggling with different ways of output. And so it was really interesting to see the variety. So those are kind of the ground rules I mean there's you can talk about your current work and how you arrived at what you put into the show or what you're planning to put into the next show, or what you're thinking about for the future, or you can talk about an overview of the past. And I would like people to stick to five minutes, so that then we can have five minutes of conversation. So that then we can have five minutes of discussion about each person's work and we have one less person but I think that should bring us to a little over an hour, and then give us some time to kind of schmooze about other things or somebody else wants to present to didn't indicate that beforehand.

Roz Dimon

That's fine and I made a quick list. Up at the time. I'm not sure if I'm not, but anyway. So, Ross asked the question with a discussion be after the presentation or the end of all presentations. I think questions about choice of materials process whatever what's relevant relevant what the person presents is what I had what I had an envision of five minutes of presenting and five minutes of questions. Do people have other thoughts. Do you think it would be better to do it all at the end.

Roz Dimon

I'm open. No one's saying anything.

I think if you do it. And we have a better chance of having a more succinct presentation and more likelihood of having some time left over in which to discuss.

So you'd like to see all the output discussion at the end. Yeah.

I think that's

A good plan.

I think I think that it would give a lot better chance to have more of a conversation rather than amongst you know amongst everybody, you know, kind of like bouncing off of each other rather than just, you know, addressing one at a time.

Okay, so that sounds good. So, the reason. I don't know. I thought I would go for that. I'll go first, just because then I don't have to think about my presentation when I'm thinking about everybody else's. But before I go do mine. I am going to screen share with Negin's piece because she is everybody seeing this. Yeah.

Roz Dimon

Okay, so I don't. I had. She on. No huge time zone difference. And she unfortunately didn't feel that she could stay up tonight. And I said, What can I show what you had in the exhibit so this is actually my picture. And the reason I wanted to do it and preview is so that I could zoom in a little bit, and you can see how it looks.

Roz Dimon

Preview is kind of awful to for doing that. So you can see how, how detailed it is. And I'm going to go ahead and show you the pictures. And one of the things that struck me about the expressionist location was what was above the pieces so when I took pictures. I saw the Statue of Liberty fabric in the games piece and I saw the fabric in the bar relief appear. So for myself, that was really intriguing, like, what are we doing in the digital world and output that does that. And I loved the fact that these were large canvases tacked up and so this is. This is my photograph from the site.

Roz Dimon

And she's not here but I'm sure since we're being recorded. She would love to hear any thoughts about her work.

I could expand on this a lot actually.

Okay, do you want to go ahead, I'm going to start, you know the work.

I actually I know the source material. I mean I know the source, I know the source objects actually. She started making them in Abu Dhabi when we were living there and. She started making them in Abu Dhabi when we were living there and. But and that's it. You're going to have to get it there. We're going to have to get it there. The point is, you know, that's the only time you're going to have to do that. Anymore and all that but the one thing that I think is super important to understand about this particular work is that it has a size and it has a certain you know tactile nature to a certain voluptuousness but the thing is understand that this is a duplicate this is a this is a print of a very detailed photograph and the other thing is that this work has continued to develop so on one hand if you went down into there's one is these were these were based on are going into google earth vr and seeing each other's countries you know through through through vr and the thing is down in the lower right there's this circular kind of piece and if you went in on it really close the thing is that you would see that it is actually you know a it's actually a sewn piece of collage the thing is that you know a lot of a lot of the flag areas on the american piece which is up on the upper upper upper left now like that the flag it's now all in the middle of the completely embroidered so in other words on one hand this was originally kind of digital collage and painted you know from these things but now the thing is that these are also pieces of fabric and embroidery and you know she got just got a machine to do more work on this so the thing is this is really a mixed mode and the thing is that I don't know I never want to speak for her but even though she is my other half but the one thing I think is really interesting is this is you know part of our conversation about you know trying to see the other through the other's eyes and in a sort of way but the one thing I think you know because you see all these elements that I've been doing things about iran and dali actually and but what's really interesting is the fact that as time goes on these works keep getting more and more and more material you know they started out as kind of digital collage but you know it's I don't know I think it's a great metaphor to say that these things are becoming more and more and more concrete you know hopefully as the visa comes through but I

I don't I don't yeah I'm sorry I'm going on a bit but I just well yeah I've got a I'm going to stop you there that was really great it was really helpful point about embroidery and product was really interesting it's just that because I spoke for a minute and then you spoke for three I spoke for more than a minute you spoke for three and a half minutes so we hit our five minutes and so that was really great so let me see if I so thanks and I'm glad that you were able to share that so I am going to try to share my keynote which should be set for exactly five minutes so we will see and I'm going to start so this is what got me started these were my pieces in Techspressionist and actually what's really interesting for me is that I went far more traditional for this show in terms of presentation than I do normally so my previous big exhibit was an art space I'm only going to talk about this for two seconds because I talked about it a lot before these are hanging cotton banners and on one side and a prepared wallpaper on the other side and so I'm going to jump way back to things that I did that were a little more interesting in 2009 I loved doing these were prints glued to plexiglass and they were really effective and they gave the luminosity of the computer screen but they're really heavy they were really hard to hang and the person who did these that whole shop was closed the person I was looking working with this was another really successful for me series that I did these are fairly large printed on vinyl and then metal boxes behind them and I still have these were great I think the physicality of them really attracted people and again they were done by the shop that's closed I stuck an installation shot from a show, not the same shows.

Roz Dimon

And in fact, they're not in the same order. And one of them was hung upside down and like, I don't care. They did the job. So I would like to return to this and I kind of wonder, I've been asking myself, why didn't I do this? I was included in Creativity and Cognition in Glasgow in 2015. And so I printed on fabric so that I could stick it in my purse and travel with it easily. Very expensive to do it that large, but it turned out to be really effective. People really liked working with it. And of course, I have AR in these pieces. Back in the States, when I showed the same pieces printed on paper and mounted Governor's Island here. Over on the left, people go to Governor's Island recognizes it wasn't as effective. So back to this. I just wanted to end on the positive with this series.

Roz Dimon

This is a series I did with Yona Verrer where we printed on canvas and showed it quite a bit. We're actually proposing to show it again. And we mixed the paint on top of the canvas. And this was actually pretty good. I mean, we were limited in size and we made them long and thin. And I did a close up so you can see it's just regular canvas. We had a little crisis because one place sealed the canvas. And no, no, we didn't want to seal up. We want to paint on it. This was where I experimented with just putting the prints on the wall with magnets.

Roz Dimon

So nails in the wall and magnets. And then I put one print into a box. I kind of liked the idea. And I wanted to show this image of it so that you could see that it's kind of buckled. So even though this was an international show it was local. I don't think I would send this off. Where I wasn't there to watch it. Then I got to put these prints in Creative Tech Week.

Roz Dimon

But there was a little problem because it was at New York Institute of Technology and they said nothing could go on the wall. Nothing. I mean, it was like, oh, this is what I do. So I came up with these banners and commercial. And it's been great to have them. I was able to use them this year. We had an open house at the University of Rhode Island. So even though they're years old, whenever there's a situation outside pandemic, we can only have our science.

Roz Dimon

So I also wanted to talk about scale a little bit. This was a big print on paper on cheap paper, but archival that I was sending off to Winnipeg and I said, forget it. I don't need it back. It's not worth the trouble. And then I liked it so much. That I photographed it and had it printed small. So you're seeing them in the relative sizes and it's made me think about, you know, what happens when you put it in that box and then something weird way back. I did a mural. I just want to just throw this in way back on porcelain baked enamel and it was a silkscreen process. I had to print out on legal size because it was before there was any blowing up of any kind. It was blown up with traditional photography. And I could only Do that. And finally, I wanted to end with my latest thing, which is my jacket that I'm really into.

Roz Dimon

How can we now that we have digital output? So here's my plankton jacket and I love I did this for my nephew's wedding, but I loved printing on the silk and it's not actually silk and satin and I think I'm going to use that for shows in the future. So that was my five minutes. Okay. Great. So next we have Roz.

Roz Dimon

And I love Yeah, great presentation. Cynthia. That was excellent. Really interesting to talk about output. Okay, I'm going to share my screen here. Can you guys see my screen? Yeah.

Okay.

Yeah. Okay, I'm going to go into a PowerPoint. You'll be looking at the side of my face. Because I'm going into another screen. Okay, so I'm going to go real quick here. My whole thing in mission is always about bringing touch to this medium and making people feel intimate with it. I'm going way back. I have talked about this in another presentation, but this is pre-digital. TEP was entering even then and I had talking portraits in Atlanta, Georgia called Talking Heads where you entered the gallery and all the portraits are talking and that's sort of what I'm talking about. But it certainly brought a connection even to oil painting. Now I'm in a different medium since 1981 when you know all of my paintings went for 10 years were pixelated oil paintings. And one of my earliest digital pieces was a projection.

Roz Dimon

So I'm going through an overview being a digital artist like Cynthia's and even Colin who's been in it quite a while. This was four colors on an IBM kind of clunky, but I was thrilled to death and here you go projection. I went, oh you can project these things and you know, the more pixels the better. So I didn't care if it was chunky looking. This is a very old photograph from a show and this was where like Cynthia. I was just using the burglar cameras from 7-Eleven to capture my screen often working on an Amiga. Now I had 88 colors. I thought that was a huge big deal and I was going out to Belle Deve Dugal a commercial photographer here in New York who worked with artists and top photographers and taking a floppy disk to them and then going out to Chrome. And I was like, oh, I'm going to do this.

Roz Dimon

I found these big pieces here. We have going out to magazine. I was hired to do the cover for an Al Gore piece and instead of just I made the cover into a work of art and thought about it as a work of art and even the mailing address and everything the way it's folded three of these are signed by Al Gore and just racing along here. We're entering into the late 90s and I'm working in flash shockwave. I'm working commercially at the World Trade Center a lot and I would go home and make these flash shockwave. Animations of the most crazy bar chart you can imagine and you can go to this. I can't multitask like some people can but it's the world's greatest bar chart has been rolled up which is going to be a big topic. I think with what we're talking about. So it's animated. It's online. You can go to the world's greatest bar chart.com.

Roz Dimon

I can give it to you later curated code and I think we should think about invitations. Like how do we get people to embrace this digital media through our invitations? This is a frame piece of the invitation. I've been early show. I curated that I have talked about a lot, but the invitation was kind of cool. It was very digital in its nature. It wasn't analog, you know, when the pieces would fall apart and it could be Deco or whatever at code. Also, we use a jungle gym format so that children could go in at their level and work on the computer and adults could work on their size designed with Michael Davies. This is at code 1995.com where I put up some pictures. Also, we have Char Davis's piece where someone is immersing. I think that's Michael Gelman. My invitation going really fast. This was an exciting topic because I'm always experimenting with this and one of my invitations to the American Gallery in the late 90s.

Roz Dimon

This is actually your 2000 for everything came crashing down was this ridiculous flashbible CD-ROM. You'd put into your computer and it invited you to be part of this very famous event down on the Lower East Side. Where we had blow-up pillows. We made an installation situation and we had a computer covered by a mirror kind of piece of furniture with projections of flash shockwaves like this Perrier water.

Roz Dimon

Like, you know, why can't you find water? You know, there's been water upon the earth for two million years, but now you have to pay for it that kind of idea. I'm not going into these animations. I don't have time but I'm racing through it. So that was another way thinking about how do you present a room in a whole different way and engage people. And people. Love that sitting on the couches. Artstory.net has been going on since 1997 and I recently revolt reroll this up working with my program or directing him so that you can enter this story called artstory.net and go into through the years to the stories to the art and I'm still updating this piece. Major leap after being on my knees after 9-11 came into an influenced by iconography and major layering and symbolism. And trying to really get into the art world.

Roz Dimon

And I'm really more deeply connect with people. My first time and scape. I call it a diamond scape. It was an inventive process. I came up with and it's all about finding home and all is lost and it is a backlit lightbox on the wall. That is a complete painting. You don't interact with that painting on the wall. So if there's no internet, it's still a painting and works as a final piece, but it also has a code that takes you into it where you can immerse into it. Here's another diamond scape a permanent installation here in Long Island. Where people can enter into it Haven's house at the Shelter Island Historical Society.

Roz Dimon

Here's a girl going through it, but also a puzzle. I did a puzzle and you know, I think it's kind of interesting how commercial and fine art is all blending in this new revolution, which I've always said it is and it certainly is and is ongoing. But it's fun to have people do a puzzle and then be able to go and look at your piece and go through the bibliography and everything is referenced and your images to find out what it is. And I think that's a really interesting way to find the answers.

Roz Dimon

Worked with the Children's Museum of the East End during covid totally online making a piece where I loaded their images into a work that I made into an impressionist kind of piece. Again, it's interactive. La Vida on Tempest to covid.com. Here it is at the Children's Museum and of course working with the Nguyen and going into Kuntz Matrix. So that's a whole nother medium going online into the museum interface. And the most recent show. Curated by Colin of my gun. It's on canvas and I love that we can now start our piece in and say, oh, I'll start a piece and go. I want it to be 90 inches wide by 30 inches high and I'm zooming in and out of Photoshop where I use the brush tools. It's also an NFT animated uniquely and it's a it's a t-shirt because you know, I don't even own a gun and guns are fascinating and I'm really into the dialogue that brings everybody together, which brings us to.

Roz Dimon

To the end. You know, I'm going to show you the latest series that popped out of me in 2020 to 2021 and the latest show. This is a show of them and they'll be still be traveling. But my latest thing I'm ending with is I came up with this concept with my programmer John Mark, you know QR codes are everywhere. There are vegetables and potatoes and like everything and I thought well, I'm just going to like sell a QR code and I'm selling an experience here and I have to say that this was just shown at my gallery in New York Carter Burden Gallery where I'm a member of the and it got a lot of attention and in some ways I'm kind of taking over the user experience because people would come up to the QR code and click on it and go inside the animation of Abraham Lincoln. All four of them are different animated versions and that was a whole different kind of thing.

Roz Dimon

So here it is. So, I'm sorry to interrupt you, but you're 40 done seven minutes. Oh my goodness. Okay. Goodbye. Sorry. And okay. Very much. Oh, it's really great. And I'm staying. I'm staying on a roll and we if you had one more image that you want to show this. No, no, I was kind of through the end. Sorry. It was so fast. But I know it's really fast. It's hard to get everything in there. But I think to get the overview and I think this is really great. So I have Renata next.

Okay.!

I'm sharing my screen.

Okay.

We're not seeing it yet.

Yeah, I'm not seeing it either and it's because keynote is open, but it's not showing up here. So why don't we go to the next person and I'll iron this out.

Okay, that sounds good. So next is Reese. Are you here Reese Reese just stepped away for a minute. We'll come back to. Reese. Renata. Are you ready to go? Yes, I am. Did I say your name right?

Grenada.

Renata.

That's why I like Grenada.

Yeah, Renata.

That's why I spell it wrong because in my mind, but that's just my mind not functioning.

Okay, worry about it. You'll get it together. Mm-hmm. Okay. Okay. So we have screen sharing. Yeah, we're seeing it. All right.

I see it.

So here we have my artworks goes from black and white and into color as well. And my latest collection called Gala me named after my ethnic identity within the African diaspora, which is the Gullah Geechee Nation of the South Carolina little country. The exhibit of Gala me is an experience that starts off in black and white and then merges into color.

Verneda Lights

So regarding output, when I work in black and white as well in color. So when creating my artwork, my first considerations are the colors I'm going to use and composition. And while working on these two things, I then consider the textures that I want to use both within the digital file and in the final product.

Verneda Lights

And this piece is falling that was exhibited in the Southampton Art Center show. And it has multiple textures within the visual experience on the screen rendered in black and white. But the final product was printed on vegan leather. And here this one's tribal reality is this self-portrait that incorporates some of the warrior type spirit that is typical of my people, but also of the journey that I had been through as a caregiver taking care of my family members who were terminally ill. And this also was printed on vegan leather and was recently exhibited in the Mads galleries in Milan, Italy and in the Canary Islands.

Verneda Lights

Now when I work on black and white, sometimes, well, a lot of the time start off in color. And this is an example of a piece that I did called Hurricane Wings. It was created as a photo montage and collage and digital painting that was created after Hurricane Matthew. And here we have the trees of the South Carolina Lowcountry, my neighbors and I had to flee because of the pending storm. We had to go to higher ground in the northern part of the state. And I also wanted to render it in black and white. And I did so by going to Photoshop adjustments black and white.

Verneda Lights

And as you can see, you can adjust the intensity of the colors. Red here. I'm manipulating the red and the orange. You see how we're not, we're actually not seeing that.

We're just seeing the image. We're not seeing your manipulations. Okay.

Well, I go to the menu after converting to black and white and you can then manipulate the different colors within the spectrum of the work that you are producing. So here we go. Okay, now we're back. Are you are you following me in transition?

We're not seeing any menu.

Okay. Well now I'm going back to the original screen. Do you see now I have a swatch a scanned image of a swatch on the screen? Do you see that?

We're seeing something essentially backwards. It would say fast track.

Right.

Okay. Right at the bottom.

Yeah. Okay. Yeah. Well, you know, ignore that because these are swatches. When I look at the output, I consider the whether or not I'm going to an artwork is going to hang on the wall or whether or not I'm going to apply it to my clothing line, which is Jenny likes designs. So here we have examples of my considering the end product for the clothing line.

Verneda Lights

I'm going to print on silk. I'm going to print on satin. I want to make this dress of that gown, etc. And this is a scarf that I had designed for my sister is called whimsy. And you can see the different aspects of the Jack stones and the different toys that we used as girls. And then here is called Aztec Sun. This is also a scarf. It started out as you know, digital artwork.

Verneda Lights

And here we have quilted fabric. And I use these to create my mass prior to everyone, you know, having to use the KN95 mass. Okay. And here we have a snow leopard pattern that I wanted to use for luggage and for shoes, espadrilles, and they are printed on vegan leather in a pattern that resembles on that Napa leather.

Verneda Lights

And here we have the same snow leopard pattern on canvas. And this, this watch shows me the texture ahead of time before I actually create the product itself. And here we have my clothing line, Jenny Lights Designs. And it's JennyLights.com. And then you go into the shop where we have my collection women of today, which I created in 2020. And then the Mask-O-Rama, which does the various artworks has applied to masks.

Verneda Lights

And these would primarily be worn over a surgical mask at a dress function. And this is one of the designs that I showed. Okay. That's great. Can you put this website in the chat, please? Yes, I can. Yes, I can. All right then.

Okay.

So, I know Zoom doesn't always follow us. Okay. Are you looking at the Jenny Lights Designs webpage now? Are you seeing that on your screens?

Yeah, it's great. Okay. We are seeing it. So if you can just put that link in the chat. We're actually at seven minutes now. So if you have...

Well then, everybody, thank you so much. God bless.

If you want to scroll down and show the rest of your site at the bottom, I mean, we can take... Five seconds for that.

This is one of my favorites.

Great. Okay. So we'll get to talk about this more...

Yep. And I'll put the links in the chat.

Okay. Great. Thank you. So, Renata, did you get your tech stuff worked out?

Yes, I did. Thanks.

Okay. Am I saying your name right, Renata? I'm sorry. Okay. Yes. Yes, you are. Okay. Great. Thank

You. Okay. Here we go. So on the subject of fabrication, I'm going to show you a lot of different materials. The first one is photographic paper, which has a metallic finish on it. And I framed these works, very early digital works from 2013 in these glass frames so you could actually see the back. And then I printed them out and turned them around.

Renata Janiszewska

This was the piece that was fabricated for me in Germany, which I haven't actually seen in person. And it was in the Techspressionism Digital and Beyond show. It was printed on metal using a dye sublimation method. And in the last six months, I have sold three other works, all printed on the same material by the same company. And I will get to see them because I'm going to visit the home of my collector in September. To see those three.

Renata Janiszewska

Here's Ayia, Colin's daughter holding the card that was made partly by me and partly by Colin. Here's Skogo in front of the banner that was made. And he's a very tall man. He's over six feet. So you can imagine how tall this banner is. Here's ceramic tile. I started printing my work on ceramic tile for a fairly short period of time, perhaps a year and a half. Off. And this piece in particular here was part of a series that were used by my clients in London, England. They were inserted into their new bathroom by the designer who put the room together for them. And then you can see there were others that were to the left of the mirror in this other corner of the bathroom. They live in a 125-year-old building that was beautiful Victorian red brick, and they have two children and a cat. And they have been collecting my work since university.

Renata Janiszewska

Here's a very small ceramic tile. It's one and three-quarter inches by one and three-quarter inches. It's a fridge magnet. And these are fridge magnets that I made myself by printing on paper and borrowing a button maker, but using metal at the back rather than a pin, which is a very important thing. And I've been using metal at the back rather than a pin, where you would make a button. I just made these into magnets. This is a T-shirt. I've made lots of T-shirts for friends.

Renata Janiszewska

Here's an installation that was done in Toronto, and the proportions are fairly large. These panels were printed on aluminum. And the files were very large, and I actually worked with a designer to blow up the work. And the series was called Fleurs Fusillades, which in English is floral bombs. This was the last piece. There are three pieces all together in this. It's a hoarding. The client was Rockport. They were building a condo behind this hoarding, and they wanted public art.

Renata Janiszewska

This is another view of the exact same piece you just saw. You can see how it's at least 10 feet in width and 8 feet in width. And that's the whole idea. It's an issue in that it's not just the space. It's the space. It's the space. The space that is at the top. So I'm going to put you in the room. So you can see in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the room.

Renata Janiszewska

So you can see I'm going to put you in the room. So you can see I'm going to put you in the room. So you can see I'm going to put you in the it's a very good company I found in Toronto that prints my work using a sort of a vinyl material that doesn't crack and doesn't fade. And literally, I've had things made seven years ago, and I've thrown them in the washing machine over and over, and they still look vibrant, just as good as the day they were printed.

Renata Janiszewska

Wrapping paper, another gift wrap. These are for my personal use. They're not commercials. This is just some presents. Here are some stickers, decals. Here's a greeting card. And that's everything. Oh, one more detail. Canada Post has printed two different stamps of mine. They weren't commissioned by the post office, but you can actually use an app and create your very own legitimate postage stamps.

That's great. Thank you. And it was perfectly, you have four seconds left. So thank you. That was really great. I just want to add, the U.S., you can also do that, make your own stamps. Okay. So, Rhys, are you ready to go?

I'm ready. Okay. Let me share my screen. And. Okay. Can everybody see that? Yeah.

Okay. Yep. That's good. Okay.

So I'm going to talk about as quickly as I can. Why am I thinking it's not working? Well, this is unfortunate. Oh, there we go. Okay. So I'm going to talk about art rugs, fine bone china, and architectural art glass that I've worked with for several years using digital art as the basis. This is Anwar Pandith. He was from Kashmir province in India. I went to a shop in the Boston Design Center and fell in love with the craft of Oriental rugs and I gave him some designs. These designs that you see on the floor are some of my digital works.

Reese Schroeder

I then went to Dubai and gave a presentation on how I was incorporating digital art into rug making. This is 2009. So this was Anwar's family. So Anwar's family of weavers took some of my, these are closeups. These are really old works, 2000, 2005, 2001, that I gave them to weave. And then I've done some large pieces. This is a very large rug that we're going to see in the world. It's for a condo in downtown Boston.

Reese Schroeder

And this was woven out of silk. To do that, I had to go in and determine all the RGB values for every change in color. Then it was hung on a rack and hand-tufted by Willard Custom Carpets. They're in the Netherlands, but this shop is in Singapore. Taking this work, this is another one being woven by Willard Custom Carpets.

Reese Schroeder

There it is finished on the floor of the factory. It's another work from 2005 woven into a rug. This one's now in my living room. Again, the hand-tufted was done on vertical racks and scaffolding. Then I moved to fine china. I was taking some digital work and seeing if I could make beautiful place settings.

Reese Schroeder

I had four prototypes made. These were shown in 2010 in Atlanta. They were supposed to go into Paula Deen's magazine at the time, but she wanted a place setting of 12. It's like, I can't afford that. That never happened. I had these place settings made. This was the artwork. You saw the artwork previously. This is based on the templates that the factory in China gave me. I would position and crop the artwork. Then they would make digital prints onto a transfer paper.

Reese Schroeder

These are the people in the factory. She's actually kind of squeegeeing the print onto the plate. Then it goes on a rack and gets fired. It's a permanent china. Then what I've done the most of is architectural art glass. I'm an architect for 40 years. I've always wanted to make art that was purposeful, that did something besides just be an object of art. I work with the process of laminated glass, which meets building codes. You can put it in windows. I've done floors, ceilings. Walls. Some furniture. These are three examples. The one on the left was a bank. The one in the middle was a conference room. The one on the right was IT.

Reese Schroeder

This is an entrance I did for a glass company in Rhode Island, Advantage Glass. There's an artwork that I created. They liked it. I thought I was going to sell them some digital paintings. They said, no, we want a front door. So I worked to do that. It's laminated with a glass. It's a polyvinyl butyrol or a urethane layer of adhesive on each side of a Fuji clear or a Kodak DuraClear or the Duratrans, depending on what I wanted to do.

Reese Schroeder

This is a work that was done in 2001, which a client saw in 2017 and said, man, I want that in my house. So I made it in glass. And so it's a glass. I installed it into their kitchen wall so that the reflectivity of the glass matches the reflectivity of the tile. And they really liked that. I did a, this is a roughly a four foot by eight foot piece of laminated art glass with my work that went into a shower in Alabama, in Birmingham, Alabama. It was a nonprofit director's home. And I think it turned up really well. I've done some really large projects. This is a parking garage. This is a photograph of a geode. It was a digital photograph that I expanded and I'll show you how I did it.

Reese Schroeder

There's a stair behind her. So, you know, of course, being an architect, I have the advantage of understanding how to put these kinds of technical drawings together to give to the glass fabricators. But this was very complicated because the glass panels were so large that I had to splice the photographic film in the middle and do it in such a way that it would fit in the glass. And I had to do it in such a way that it didn't look bad. And it came out pretty well. Then I went into ceilings.

Reese Schroeder

And, you know, with a knowledge of building codes, I developed a glass panel that would meet overhead glass requirements. And also some additional things for seismic because I did a ceiling in Seattle, which is a zone seven seismic area. This is a mockup glass ceiling that I presented at Neocon in 2010 based on just a quick art work. It was really just to show the potential. This is the Harborview Hospital ceiling. This artwork was actually done by Sayed Elavi, who contacted me through my glass work and said, can you do this for me? I got this commission. And so I did some fencing. I did some fabrication pictures. Every piece of glass had to be separated as a drawing, individual drawing for each piece, and then laid out. And here's the guy installing it. And I think my name was used in vain more than once.

Reese Schroeder

And then this is kind of a crazy thing. This was a work that did.

You're at seven minutes now.

All right. Okay.

Appreciate it. You just have a couple that you can flash for us quickly.

Yep. Doors in Amsterdam glass. Illuminated glass on metal frames. This is in Palm Springs based on the Mexican bird of paradise. Artwork that I sold in New York at the Urban Glass. And then some really large things. I've done five buildings at Indiana State University with art glass. Here they are in the factory. And this is how it's made. I'll make all this information available to everyone if you want to know the technical details of it. Okay.

That's wonderful. This way if we keep moving, we'll have time to ask more technical questions. Okay. So because we have Greg, Sasha, and now we have Susan. So Greg, are you ready to go?

Let's see.

Hang on one second.

Okay.

I put this together very quickly. So bear with me. But here we go. Okay. Are you seeing one of my images? Text press?

Yes. Okay.

So let's see. So I was a painter for a long time. And about 25 or 30 years ago, I started working with virtual reality. So the output here was projection based. And very specific to the particular simulators that existed in different places. This is from University of Teesside in Middlesbrough, UK. So this is all projection based output.

Gregory Little

This is from a virtual reality cave at Brown University. And so when I was doing these, the output became very complicated. Because every simulator that I encountered was very complex. And I had to recode everything. I could just reuse the assets. That became kind of arduous and very difficult to show the work. I began making digital prints. So this is a series of digital prints on canvas. These are archival inkjet prints. Done with a Hewlett Packard Z3200.

Gregory Little

And they're stretched over wooden panels. Each one is about 66 inches high. And so they're straight up prints right out of the computer. I've seen them. They're amazing. Oh, thank you. Who said that? Patrick. Oh, Patrick. Yes, you've seen them. Yes.

Yeah.

I mean, the prints led to another series of projections. So this is like a nine-channel video projection piece with sound. That was also output as a with a live musical performance. Let's see. This is a shot of a wall in my studio from several years ago. I'm interested in the piece in the center, the yellow one. So this is an inkjet print that sat in the studio for a couple of years, literally. And the print is based on a tiny sketch from a sketchbook done during faculty meetings.

Gregory Little

And it sort of evolved slowly over time. What would happen with these, like in this series, I liked the outcome. I looked at the images. I'm like, okay, I like that. In this particular case, I did not like the outcome. And so I had to continue working on it. And I was growing frustrated with the lack of tactility because, again, my background is in painting. I was growing frustrated with the lack of tactility in the digital prints. And so I began painting on them. I would not have painted on it had I felt it worked. Right. Which is, you know, my own criteria. So there's an example of one of the prints. So soon after that, I began experimenting with laser etching. And I developed this wonky process where I would hand make aqueous media paints, kind of like watercolors, only thicker. And I would put just layers and layers and layers and layers of watercolor down on these surfaces of all different colors.

Gregory Little

And then I would etch into them, laser etch into them to reveal some of the colors. So that's right after the etch. And then this is the finished image. Here's a collage that was etched into these layers of pigment. And you can see it's like burnt. And it was kind of like scorched earth looking after it came out of the laser. But after I cleaned it up and continued working on it, I was able to get the colors. And then I started working on it. It took on a completely different character. But again, this is about 15, 20 layers of basically pure pigment and binder that I'm etching into.

Gregory Little

And these are some close-ups. And this is another example of the same process. And these are very small works, about maybe 9 by 12ish, I think. So same process, same layering. The blue image in the center of the birds flocking is from a flocking animation done in Maya still frame. The geometric configuration is from a photograph I took in India. And I decided I wanted to enlarge this. So I scanned the image and blew the image up and printed it.

Gregory Little

And this is a great example. This is a close-up of the surface of the image. So this is a print. There's no surface here. It's just, you know, the tiny micromillimeter of ink on canvas. And I didn't like it. It didn't work for me. So I began working on it more. And this is the piece that ended up being in the show in Southampton that Colin curated. So it went from black to copper to here. And then the final version, which I guess I didn't put a slide of in here.

Gregory Little

So I'm going to show you a little bit of the work. So I'm working back and forth between these mediums and these techniques. And I just want to emphasize that for me it was really about after the image would come out of a printer or a laser etcher or whatever, does it work for me? And if it didn't work for me, I had to find another way to continue working on it.

Gregory Little

So the printing, fabrication, whatever you want to call it, process was often or usually not the final step in the process for me. So I'm going to show you a closeup of a laser print from the animation that I showed you previously, the projection based, you know, nine channel animation that I then began printing on because I didn't think it worked. And it became something else. This is a detail of the print.

Gregory Little

And sometimes things don't go well. So I have to. I have to. I have to kind of shred them and start all over. But again, for me, it's that it's that sort of circling process that I'm so interested in. Another kind of output that I've been working with lately is doing some AR stuff, taking some of the 3D assets that I have developed and bringing them into augmented reality. These are just some case studies kind of thing. This is from an exhibition that I had at Kent State University in Ohio about a year ago. So these characters are all animated and moving. So it's kind of a hybrid hybrid work. And then I'm working on another virtual reality piece that's based. This is very hard to see because it's an offset stereoscopic image.

Gregory Little

But it does appear to be very 3D and in the virtual reality cave. And so this is just a kind of sketch for a cave piece that's based on some of these previous works. So this output contains painted, scanned, 3D modeled, photographed assets from all these different areas and coming coming together in the VR world.

Okay, so that's seven minutes. That's more than seven minutes.

Okay, I'm good. That's my last one.

Wonderful. Great. Thank you so much.

It's really great.

So we have two more people. We have Sasha and Susan. So we can keep going at this pace. We'll have a good bit of time for discussion. So Sasha. Okay. Can you hear me?

Yes. Okay, good. Because I my zoom thing. Not so great. Really inspiring presentations from people today. Thank you so much. I want everyone to know I would join every one of these salons except they happen on Wednesdays and I have a thing I have to do every Wednesday and mercifully this week it was canceled. So I'm happy to hear from you. It's not that I'm not here to say that. And I'm very happy to be able to check in again after a long time.

Sasha Pyle

But I just between, you know, fine and applied arts and things in between that sort of straddle that dividing line. And I have at times just wished people weren't so hung up on, is it art? Is it craft? Is it applied art? You know, I've been messing around with those boundaries since the 1970s. I have a, you know, degree from the, what was then a very new department at Harvard called called Visual and Environmental Studies from 1980.

Sasha Pyle

And I was mixing. Even then and had to fight really hard to get them to approve my thesis, which integrated drawing, photography, printmaking and textile design. And they didn't want me to do it. And then they loved it when I finally did it. So I learned how to advocate for my own vision to some degree at that time, although I've had to learn it more since then mixing media. But because I started as a basically 2D person really interested in still imagery, the printing, printmaking and painting and textiles all went together really well because it was still imagery and just trying to get into some moving imagery over the last couple of years has been an interesting challenge for me. I had a gallery here in Santa Fe, New Mexico and we were making art for five years. We designed it as a five year project and that the whole idea was to take a building that was in bad disrepair and fix it, renovate it and turn it into an art and event space where things would happen that were not happening in the more traditional conservative galleries where tourists buy landscapes and things like that.

Sasha Pyle

And we had a crazy, crazy gallery called City of Mud. And a lot of the stuff that we did is archived on the website there cityofmud.com but I started getting into doing really altered photography while I was doing that gallery and we did a show called Undersea spelled s-e-e that was subliminal and psychological art and dream imagery and I took a bunch of photographs that I had taken at the Deutsches Museum in Munich of submarines and different kinds of really weird steampunk machinery does that show are you guys seeing that and so anyway this was this is a sample that I had made it's very small compared to the finished pieces which I had an array of six pieces and they were like four feet wide and I was glad I had this sample made because it showed me what I needed to do to my color calibration and contrast but I custom we also did the art that I onto these boards and then just, you know, spray varnished with a matte varnish.

Sasha Pyle

So they're fairly durable. I wouldn't want someone wearing chain mail to lean on them, but this small sample is the only one I have here in my office. So that's what you get to see from there. While we were doing City of Mud, we were also experimenting with a lot of like weird, crazy installations and immersive events. And I don't know if any of you ever knew Woody and Staina Vasulka, but we they did some amazing custom stuff for our shows. In fact, Woody's last piece was at the gallery and it really inspired me to just keep doing the things that I wanted to do. Because at the end of his life, when he couldn't even speak, his assistant said he can't talk, but he knows what he wants to see. And that really stuck with me because that's sort of my driving aesthetic is I know what I want to see.

Sasha Pyle

I just have to keep screwing with stuff until I get there. So that was a really interesting experience doing all that. And while I was starting to do more and more time with glitch photography, which I started getting all these programs and apps and glitching all the time. And then I started making movies and I did a 90 minute. Long movie called glitch waves that we performed with live music. Some of you have mentioned doing similar things with, you know, electronic music and all kinds of crazy stuff. And then I also made a movie for Currents New Media, which is the sort of preeminent alternative media, electronic, digital, virtual reality show that happens in the Southwest. That's here in Santa Fe. And so I made a movie. I made a movie for them. It's on my Vimeo channel, which is under my glitch name, level nine.

Sasha Pyle

If you want to see it, it's called digital Zoetrope. So I made that with a wonderful person named Julie DeFeo, who's an incredible artist. And she is now working with me as my assistant at level nine and helping me sell digital art. So just moving along quickly, what we have been doing at, you know, it was great. We sold the gallery right before the pandemic. And it really freed me up to be able to think about a whole bunch of different things.

Sasha Pyle

And, you know, I was happy that we did it when we did it. But, you know, we and we were winning, you know, best of Santa Fe awards and, you know, coming in right behind Meow Wolf and stuff like that. So that was neat. But once I got done with that, I started really doing, you know, taking my glitch imagery and trying to find different ways of output.

Sasha Pyle

These are, you know, archival quality prints. These are prints on iridescent paper. You know, I will do these prints for people and sign them and, you know, all that if that's what they want. And I have a, you know, printer here in town that I'm working with that I love. But I wanted to think about something other than printing on paper. So what Julie and I decided to do was evaluate a bunch of vendors who do different styles of presentation. And we have settled on archival paper prints that are signed.

Sasha Pyle

So we have canvas wraps and aluminum prints as the things that we're doing now. And I'm working with a company called Aluminize for my aluminum prints. And because this is a small diptych, I can get it on screen. I'm not doing screen sharing with you guys because I want you to see the backs of everything. You know, at some moment, maybe I'll do some screen sharing. But the quality on these is exquisite. Aluminize does a really good job. It comes with the hanging hardware.

So these are... Excuse me, but you're at seven minutes now. So if you could just finish up because we...

I'll be really quick. Yeah.

So...

A little lenient. Sorry.

It's really hard to be less than that. I'm just really interested in some different media. And I want to soak people for some expertise. I would love to see us collaborate on some kind of a vendor directory that's just for members in our group of who we've worked with and what would work well. And also, I urge people to go look at Felipe. And Antone, what he's been doing with tile murals because he is killing it. So you guys are super inspiring. And thank you. Okay.

Thanks. That was really great. And great idea to do a directory. We can talk about how to get that going after this. We have one more presenter. Susan, are you ready to go? Yes. Yes. Okay. Great. And then if there's... Anyone else who didn't, raise your hand, send me a note. Okay. Go. Thanks.

Okay. Okay. So I am a digital artist. I mean, I started doing digital art with iPhone and iPad about 2015. And before that, I did... I did entirely like photographic work, infrared photography and printmaking that was based in the natural world and transfer prints. So my thoughts about when I was doing digital work, when I wanted to make it hard copy, I immediately thought of... Initially thought of canvas prints, which is... Are you seeing these?

Yes.

Okay. Great. So these are... This is my Portrait of a Woman series. This is my first print that I created as canvas prints and did... A couple of years before pandemic was showing these locally in the United States. So there are a variety of sizes, like 11 by 14 to 20 by 30. Here's some that are hanging in a show.

Susan Detroy

Here's several of them in a local show. So... So canvas prints. I also... Right before pandemic was in a number of shows that had to do with identity. And I generated the work on metal at a local actually architect printing place. It's kind of brushed metal. I don't have these right here to show you. But... And then I... Anyway. So these two were in those shows.

Susan Detroy

Another project... I do a lot of collaborative work. But... And this is a quilt that travels around the United... Travels around the world actually that got started a few years before the pandemic. And this piece right here with the sunglasses, that's me and that's my piece. This is still happening. This quilt piece.

Susan Detroy

I also had someone request something to be printed in a slightly different way that they wanted to purchase. And it's like on a hard back piece. I'd have to look up the vendor that I used for that. But it's set. Obviously set. Also I've, of course, had pieces in magazines. This was a magazine that printed a piece for addition on refuge. And this was... I've produced a couple books of my digital pieces that this particular book was generated for a therapist. For self-identity.

Susan Detroy

It had a combination of pieces of my portrait of woman series. These pieces I have been doing for a few years. They use prints. Just generated small prints that are cut and then mounted onto canvas. And I use... This is a show of them. This is the back. I wanted to show... I use these. Teabag papers. And I create these myself. And mount them. And then they're glued. And made with matte medium. And then the prints are put on top.

Susan Detroy

These are very small. They're 6 by 6. Pretty tiny. That's the process. I also have generated some pieces. A lot of this generation was done before the pandemic when I was showing and sending things. This is a very large canvas piece that I generated. These were in shows. These are, I think, 32 by 30, something like that.

Susan Detroy

This is the most interesting thing that I've done with my portrait of a woman series. These are assemblages. They're photographic. 3D assemblages. And they're mounted on a piece of metal with a bump out, with a wood that's stained. And the print is glued onto a foam core piece. The gluing and the foam core is done at a specialty art framing location.

Susan Detroy

And I burnish... Mark up the metal. And then I cut them myself. I have it cut here locally. And the pieces do change over time. And that's part of it. Here's the backing so you can see that there. I also have generated cards. I've always generated cards. I have a local place that I stock with cards. These are cards generated for... I make these cards by hand. Also, my pieces I have used in films. In 2020, I made a film about the pandemic, and I intermixed my portrait of a woman and my natural world imagery in that film. This was a film I did that also included my imagery that was part of a presentation, like a window front presentation.

Susan Detroy

And I think that's it. And I'm just going to show, how do I stop doing this? Stop. Okay. I also wanted to, show, oops, no. I also wanted to show the pieces. Oh, it's not going to, it's because I have that video thing going in the back. But I think that's, that's it. I tried to make it really fast.

That's great. That was six minutes was perfect. If you get your background not working, I mean, now we have, we're, we're pretty good. We have 15 minutes for discussion. We're open discussion. So if anyone has any burning things to start with.

Susan, when you paste those paper prints onto the canvas, then do you coat them? No, they're not coded. Oh, the, which these, these, these? Yes. I was wondering if they're, are they fragile that way? Uncoated? Somewhat. Yeah. It's, it's regular C-print. You can't, I haven't really found anything, way that I could coat the C-print.

Susan Detroy

Great.

So Patrick has his hand raised and if other people can raise your hand, if you don't know how to raise your hand and the reactions, just put a note in the chat. So Patrick and then Tommy, this is who I see right now.

Patrick are you there? Can you unmute? We're not hearing you Patrick.

Okay. Yeah. I just, I, I didn't sign up. I wanted to share one thing is, is that when Negin and I did the, through the mesh show over at Nimi, it was a really good experience. And I think it was a really good experience. And Cyprus. The one thing I've been really interested in photogrammetry and I just wanted to bring out one piece real quick. And just because lighting probably won't be able to see it very well. But I've been doing 3D scans of environments with LIDAR and that sort of thing. And then basically taking them to the point where I make these impossible perspectives of them. In other words, This is a street scene in Cyprus in Old Town. But the thing is that if you actually weren't at the spot to see it you'd be about two feet inside a wall about ten feet up. And then so basically I didn't oil painting from that particular piece and that sort of thing.

Patrick Lichty

So now on one hand there's this digital component but then there's this painting component. And you know that comes from it and the one thing is that you know I love the fact that you know you can get the get these really amazing images and I love the way that the you know that the scanner the like the iPad scanners work because they're just really imperfect really glitchy but also on the other hand that word that works really well for painting so you know so anyway I just wanted to share that real quick and you know it's a it's canvas as well and

There you go so great thanks we've had a lot of talk about canvas so that might be something people want to share a little bit more tommy you're next and then Cynthia DiDonato

So recently hi is my microphone on yeah recently I've been printing using a material called transducer transfer ease it allows you to print on an oh my goodness I just tried to zoom things and now I'm not sure what's happening there's a rectangle I think I just shared a section so here's the website inkaid1.com and what you get is this material that's an emulsion that you brush onto anything and you print on oops you know here's a roll clear transfer material you put the transfer material onto the emulsion let it cure for three minutes, peel it off, and the pigment from your regular inkjet printer stays on whatever surface you choose.

Got it. That's pretty cool. Great. Have you tried it on canvas? What have you tried it on?

No, I've been doing metal right now. It does work on canvas, absolutely. I'm planning on printing on some lighter weight material even than canvas, like a poplin. Yeah, I mean, that's all I wanted to share. Right. I-N-K-A-I-V-1.com is the manufacturer. They're in Florida. They're very nice people.

If you could type it in, but I think we need to start a Google Doc somewhere.

Oh, and that was the other thing I meant to mention. I just put in a Google spreadsheet in the chat of some suppliers of printing services that I experimented with. A few years ago. So this is probably out of date price-wise, but it's a good place maybe to start just sort of looking around at some places that I think they were all pretty reputable.

That sounds really wonderful. Okay.

Did I stop sharing my screen?

Yes. Okay, great. So it's great. So Cynthia DiDonato, and please make sure that you're muted if you're not actually speaking. I'm hearing a little background from somebody.

Yes. Thank you. I enjoyed all of the presentations. Very interesting and inspiring. I have a failure. I had printed up one of my digital images and I wanted to affix it to this box panel. And I used a special adhesive spray, maybe Krylon. And as you can see, if I hold it in the light, it bubbled up eventually. So I think maybe Tommy's suggestion of the traditional spray is the right one. I think it's a good idea. So I think maybe the transfer ease might work on a box panel. Tommy?

Cynthia DiDonato

Yeah, wood?

Sure. Yeah, yeah. I think it would transfer to wood and then you can put a clear overcoat on it.

Yeah. All right. I'm going to try that. I also wanted to ask Vernada about where does one get vegan leather?

I order from, I have my works printed in London, England at a company called Contrado Limited located on Abbey Lane in London. And I select my fabrics and have them printed out. And sometimes if I'm uncertain how it's going to look, I get swatches made and assessed from the swatches whether or not it's going to work in a larger version. And they do an excellent job. I came across them when I was commissioned by the Edward M. Kennedy Institute for the United States Senate to design a chair for Rafi Friedman Gerstmann, who was the first transgender, openly transgender person to work in the White House in the Obama administration. She's a trailblazer. And I designed a chair for her and I created, my chair was covered with panels that of artwork that I created based on her life story.

Verneda Lights

And because she's Jewish as well as Latinx. And Contrado did a fantastic job of printing it out on the vegan leather and I said wow I really like this you know so I'm going to keep up with this and apply it to other things as well.

Vernada can you tell us how Contrado is spelled please?

C-O-N-T-R-A-D-O Contrado Limited.

Great thank you.

They have a sample book that you can order. I got samples from them. Yeah. Yeah. Colin

And then sasha I just wanted to say one thing it's contrado limited in london yeah and

You can you can order their sample book which I did but the sample books the sample book is not as fresh as applying your own artwork which I always super saturate because you have to account for the absorption into the fabric right so it doesn't look pale it does compare with your work and you selecting your own fabric it was I did the sample book and it wasn't happening because they use a print that I'm not interested in seeing and I would never use myself and so I lost interest right away and not only that but the absorption factor was just off the charts so when I do my own I'm very happy what

About how do you hang it on the back of the vegan leather what do you put on the back to hang it on the 3m 3m

Stickies that's what I sent it on to the southampton art centers 3m makes a product that is sort of like puttyish but in a very stylized way so it's not lumpy it's flat and smooth and it doesn't tear away the fabric or leave marks on the wall I positioned those items on the wall and I sent it on to the southampton art centers 3m and I sent it on to the southampton art centers 3m and I sent it on to the southampton art centers 3m and I sent it on to everything out to make sure it would hang evenly and colin did a fantastic job of hanging it and it stayed the I like using the vegan leather but I also use picto p-I-c-t-o and they are in new york and they do printing for large fashion houses like chanel and they do excellent art paper reproductions they print very well I wouldn't use them for the canvas wrap because they're a bit sloppy in their regard but their printing on archival paper is just exquisite

It's expensive so we need to start a google doc and have everybody put this information colin sasha and then renata and then we're going to be a little past seven by then so

Yeah I just wanted to well two things one I wanted to make a brief announcement that I think is very exciting so at the end of the southampton art center show as some of you know and some of you participated in there was a panel hampton's tech week that tommy and giovanna and paul miller participated in as artists and it was moderated by Christiane Paul and I'm going to be a little bit more in depth on that so I'm going to be a little bit more in depth on that so I'm going to be a little bit more in depth on that paul who's the new media curator at the whitney also with the new school and so I reached out to her to thank her for participating in the panel and asked her if she had received a catalog and she had not but she you know said she really enjoyed the show she's known many of the artists for many years so I did send it send a catalog to her at the whitney and also I asked her if she would be interested in having a conversation about expressionism possibly with helen harris and I said okay I'm going to be a little bit more in depth on that so I'm going to be a little bit more in depth on that so I'm going to be a little bit more in depth on that so I'm going to be a little bit more in depth on that so I'm going to be a little bit more in depth on that be a little bit more in depth on that so I'm going to be a little bit more in depth on that be a little bit more in depth on that so I'm going to be a little bit more in depth on that be a little bit more in depth on that so I'm going to be a little bit more in depth on that do you have one more question at the porthouse for in the polo house just that's do you have one more question at the porth dollars in and the porth fall at the porth dollars in and the porth dollars in and the porth dollars in and the porth dollars Expressionism in early October.

Colin Goldberg

It's going to be a closed conversation because I thought all the logistics around trying to actually run a webinar, never having done it before, and also it's expensive to license the webinar Zoom package. It's just going to be conducted as maybe a trial run of what Michael Price was proposing as far as a roundtable. And I thought it could be sort of presented as a curator's conversation.

Colin Goldberg

But I'm really excited about that and very happy that she's open to that aspect of conversation. I was going to talk a little bit about my pieces behind me, but in the interest of time, I'm just going to cap it at that. But I just wanted to put that out there as something that I think is really going to be an important piece of discourse.

Can we go a few minutes late? I mean, if you want to say something about the pieces behind you.

Well, yeah. I mean, basically, there's two paintings behind me. My cat is also behind me. They're three by four feet each on linen, and they're part of a series called My Wireframe Paintings. So I just pulled up on the screen so you could sort of see a little closer view. And basically, the way that they're put together is I paint. These are acrylic, but I've also worked with oil and inkjet. And I've also used products from InkAid, specifically their primers, which allow inkjet to stick and take onto a painted surface. So I paint and then run them through this Epson large format printer here. And there's multiple sort of iterations of that process. So you could kind of see some of the details involving the knife painting and then these sort of wireframe forms. But a lot of them are just in the form of a paper.

Colin Goldberg

And I've also used products from InkAid, inkjet. And so I've been doing a lot of that is how my process comes together is kind of that combination of painting and printmaking. And I've been doing these wireframe paintings for quite a while. So some of them are acrylic and inkjet. These two yellow and blue ones are oil and inkjet. And they go back to roughly 2005 or so. This is probably the earliest one when I was at Bowling Green studying under Greg and with Patrick. So I've been doing a lot of that. And I've also used products from InkAid, specifically their primers, which allow inkjet. And there's multiple sort of iterations of that process. So you could kind of see some of the details involving the paint and inkjet. And there's multiple sort of iterations of that process. So some of them are acrylic and inkjet.

Colin Goldberg

And they go back to roughly 2005 or so. This is probably the earliest one when I was at Bowling Green studying under Greg and with Patrick.

Great. Okay. So I lost track. Did I say Renata and then Sasha or the other way around?

I think you said me and then Renata. Okay, go ahead. Okay. And then we're at seven, so. I'll be quick. We were talking about canvas wraps and I just want to share my experience with that. I had a bunch of canvas wraps done here in Santa Fe by a local printer that prints on, this is iridescent canvas. The canvas itself is slightly metallic and somebody else mentioned this. I don't know if you can see, you know, the size of this, but I have a series of these that I did. Okay. Okay.

Sasha Pyle

So I'm going to start with the iridescent canvas. And I'm going to start with the iridescent canvas. And I'm going to start with the iridescent canvas. And I'm going to start with the iridescent canvas. And I'm going to start with the iridescent canvas. And I'm going to start with the iridescent canvas.

Sasha Pyle

And I'm going to start with the iridescent canvas. And I'm going to start with the iridescent canvas. It and drop shipping it to my collectors who are ordering off of my website or my social media. Right now I have a triptych of pieces on order from them so I can have a sample here. But everybody seems to completely love them. The downside of having a printer create and ship your product is that you can't sign it and you can't take that really good picture of it hanging in situ. So I've been begging my clients to please send me good pictures of the pieces and the quality of the pictures that I get back. It's not what I would want but I can't go everywhere. So right now I have a collector in London who's doing some large size 36 inch square. It's not huge but that's pretty big aluminum prints and he's a really sharp modern classy person and he's going to be a really good collector.

Sasha Pyle

So I've been begging my clients to please send me some good pictures of the pieces that I've known for a while and I have a feeling I'm going to get some decent pictures back from him. I haven't gotten any decent pictures back from any of my customers on the canvas wraps but they are writing rave reviews on the quality of my new vendor Pictorum. Okay that's what I wanted to say.

That's great. Okay Renata and then I think we kind of have to wrap up and then hang out afterwards right?

Yes I spoke speaking with Renata and I think I'm going to have to wrap up and then hang out afterwards right? Yes I spoke speaking with Colin about our next salon and I've been doing a lot of work with Mid Journey and Dolly and I know Patrick has been and I believe some others and so he offered asked if I would moderate the next salon which I'm going to do and so I'm announcing it AI Engines Friends or Faux. So if you have work I'm going to invite some people to present but if you have an idea perhaps. You could just shoot me a DM me on Instagram. I'm the Techspressionism Instagram person so you can do it through that account and I look forward to seeing as many of you as possible at the next salon.

That's great. So before we end recording I see some hands up but I think it's just people who didn't take their hands down yet and I don't know how to do it here. I think one of the interesting things that came out of today. Was this interplay of commercial materials materials that are developed for commercial purposes and the way that artists are using them and so that kind of mix into the discussion. I think is really important and that's my big takeaway from today is that we need to compare.

Roz Dimon

We didn't talk too much about longevity when people talked about some of these other processes. And I think when you make notes about some of the other sources you use whether or not anything is archival is an important note, but whether or not that's important. Like, is it okay if it only last 50 years instead of 150 years. No, that's another issue for discussion.

Roz Dimon

So, we're at 705 con isn't this usually about when we stop the recording and then we hang out with the audience. Yeah,

I think that's, you know, a good cut off point that brings us to an hour. And I want to thank you, Cynthia for moderating for proposing the idea and all the artists who presented. Also Renata for you know taking the lead for the next one. And I really like this idea of, you know, rotating moderation, where if people have an idea for a topic. They can also serve as a moderator to sort of, you know, build that out as an idea with the option of inviting specific artists if they wish or leaving it open, but that just keeps you know keeps it rotating and keeps it fresh I think that's, that's pretty cool. You know another thing that I was thinking about is as an option in the future would be to look at sort of a crit style salon as something that could be, you know, interchanged in once in a while where if certain people wanted to, you know, participate in something that's a little bit more of an intensive critique maybe just bringing one piece to the table, and it could be a smaller set of artists that could also be an interesting format.

Colin Goldberg

So, anyone who is wanting to hang out for a little while afterwards, you know, usually do sort of an after party type hangout where people can just, you know, converse and talk and whatever off the off the record. So, you know, I think that's a good point. So,

So I think it's great. I think one thing we also need to do. Tommy said he should he started a Google spreadsheet. But I think maybe we need to start our own and possibly paste what Tommy has into it. So I think Colin we can talk about how we get that going. And people can put in positive and negative we have to think about what needs to go into that kind of spreadsheet. Questions of longevity, how good the color is the public response to it, etc.

So yeah, if I mean I would propose that if somebody wants to take the lead on actually creating a Google Sheet and making, you know, allowing people to directly access it I can certainly link to it from the site. I'm trying to sort of decentralize things as much as possible. So, you know, in interest of actually getting anything done. So, you know, that might be a way, a way to go about this, you know, in which multiple people, whoever really wants to contribute could contribute, as long as whoever is the administrator for the Google Sheet has the ability to grant those privileges. And I'm happy to set up a redirect somewhere off of the main expressionism site, like vendor directory that could point directly to the Google Sheet, or something like that. If that makes sense. Okay. Well, we'll try and bring more comments to you guys.

Tommy since you started one Do you want to see you nodding? Unless you mean it are you Are you interested in expanding on that?

Yeah, I'd be happy to continue that conversation. I set it up right now so that I think anybody who has the link can edit. So it might get messy, but maybe if we do set up a little bit of a structure of what information we want, everybody could just add their own experience.

Okay, so let's do a discussion on Instagram of what we want. And then we can... And my suggestion would be that you only grant access to...

Yeah, you could change that.

Certain people, not the great public. Exactly, that is so right. Yeah, especially because the vendors will find out and then you're going to be hounded by their marketing people. So shall we stop the recording and move to after party now?

Sure thing, that sounds great. So thanks again, everyone. And we will be stopping recording in T minus three. Three, two, one, and...