---
type: salon
number: 69
title: Monochrome
date_recorded: 2023-05-10
date_published: 2023-05-16
video_id: 90wRPqAgA98
url: "https://www.youtube.com/watch?v=90wRPqAgA98"
duration_seconds: 5535
moderator: Michael Pierre Price // Phoenix AZ USA
speakers:
  - name: Renata Janiszewska
    country: Lion’s Head, Canada
    start: 71
  - name: Cynthia Beth Rubin
    country: New Haven, CT USA
    start: 360
  - name: Chalda Maloff
    country: Austin TX USA
    start: 750
  - name: Sahar Moussavi
    country: Tehran, Iran
    start: 918
  - name: Deann Stein Hasinoff
    country: Edmonton, Canada
    start: 1364
  - name: Cynthia DiDonato
    country: North Providence, RI USA
    start: 1702
  - name: Colin Goldberg
    country: North Bennington VT USA
    start: 2048
  - name: Tommy Mintz
    country: NYC NY USA
    start: 2438
  - name: Lee Schnaiberg
    country: Montreal Canada
    start: 2759
  - name: Patrick Lichty
    country: Winona MN USA
    start: 3344
  - name: Susan Detroy
    country: Eugene OR USA
    start: 4014
  - name: Lee Day
    country: Bearsville NY USA
    start: 4484
  - name: Verneda Lights
    country: Port Royal SC USA
    start: 4714
transcript_source: whisper-large-v3
languages: ["en"]
---

## Michael Pierre Price // Phoenix AZ USA [00:01](https://www.youtube.com/watch?v=90wRPqAgA98&t=1s)

Colin Goldberg, M.D.: Hello, everyone. My name is Colin Goldberg, and welcome to the Colin Goldberg, M.D.: Techspressionism is salon number sixty-nine. Today is Wednesday, May tenth, and today's topic is monochromes, Colin Goldberg, M.D.: and our moderator this evening is Michael Price, and I will hand the mic over to Michael. Michael Price, M.D.: Thanks, Con. Yeah. So we have an interesting subject today in terms of the color palette for the imagery that's going to get shared today. Michael Price, M.D.: I would just remind the artists who are sharing their presentations and screens today. Michael Price, M.D.: Introduce yourself and let us know where you're signing in from, so we can get a good sense of the Michael Price, M.D.: wonderful scope of artists and locations around the around the planet here.

Michael Price, M.D.: So first up today is going to be Renata. Welcome and looking forward to this.

## Renata Janiszewska [01:11](https://www.youtube.com/watch?v=90wRPqAgA98&t=71s)

Renata Krupa, Thank you, Michael. Renata Krupa, Thank you, Michael. Renata Krupa, Okay, I Renata Krupa, was quite stimulated to make some new work around the subject of monochromes. Renata Krupa, The first piece I did, it was kind of what I would call Renata Krupa, Renata Krupa, a pastiche of different styles.

There's a figure that I keep working with and it's androgynous. It's usually female, but sometimes it looks male and this particular one reminded me a little bit of Napoleon. Renata Krupa, So I'm not drawing these myself. I'm working with Midjourney and I'm also incorporating my own Renata Krupa, works which are abstract with classical portraits from either the Renaissance or Renata Krupa, the time around the 17th or late 1700s in France. Renata Krupa, And you can see that there are kind of different shades and different intensities of black and white. Renata Krupa, So I treated the works. Renata Krupa, I made them in color first and then I would run them through different softwares to get these different tonalities and different Renata Krupa, shades, if you will.

Renata Krupa, This is the only one where there's a kind of color going on, kind of a dark brown, sienna brown or Renata Krupa, like going on in the background and Renata Krupa, this one in particular was kind of hazy. Renata Krupa, But I really like the subject matter because in this case it looks as though the birds are talking to the woman and the woman is really engaging with the birds. Renata Krupa, This is more an example of my own abstract work blending with a figure. So this big round thing on her head is just simply an oval shape with a figure. Renata Krupa, And I had a little bit of a hole in it that came out of one of my other works that was blended and Renata Krupa, this one reminds me a lot of Edward Gorey. Renata Krupa, It's really uncanny how much it resembles his linear, this linear style, the flowing hair and so on.

Renata Krupa, But the other thing I noticed too was even if I was using references from the Renaissance, Renata Krupa, a lot of these had the feeling of the, Renata Krupa, the time around Toulouse-Lautrec, so Alphonse Mucha and that whole Art Nouveau style came about. Renata Krupa, And there you can really clearly see a kind of melding of geometric form with a figure. Renata Krupa, This one in particular came out of a very famous painting by Botticelli, The Birth of Venus.

Renata Krupa, And I made a little bit of a hole in it. Renata Krupa, And I made a little video out of one of my images. Renata Krupa, Just because. Renata Krupa, These are the color versions. Renata Krupa, I thought everybody might enjoy seeing the contrast. Renata Krupa, And I was drawing on top of these. Renata Krupa, I was adding to them and fixing them whenever they were anatomically incorrect.

Renata Krupa,. Renata Krupa, For some reason my mouse is not visible on the screen. Renata Krupa, Why? Renata Krupa, Oh, I see the battery has died. Renata Krupa, That's what it is. Renata Krupa, Okay. Renata Krupa, There we are. Thanks, Renata. Renata Krupa, My pleasure. Wow. Renata Krupa, Different in some ways for you. Renata Krupa, Really interesting looking. Renata Krupa, Figurative work there. Renata Krupa, So, Renata Krupa, Since we have a number of presenters today,

## Cynthia Beth Rubin [06:00](https://www.youtube.com/watch?v=90wRPqAgA98&t=360s)

I think we'll hold off on questions and comments and discussion until after all the artists have had a chance to present. Renata Krupa, So thanks again, Renata. Renata Krupa, Looks like next up, Renata Krupa, Cynthia Beth Rubin. Renata Krupa, Welcome, Cynthia. Renata Krupa, I look forward to your presentation.

Greg Isenberg, Okay, so I'm going to stay on mute. Greg Isenberg, And share my screen. Greg Isenberg, Oh, my goodness. Greg Isenberg, Here is okay. Greg Isenberg, Okay, so Greg Isenberg, I didn't think I was going to have anything Greg Isenberg, To show and Greg Isenberg, But a funny thing. Thing happened, which is that I ended up using a microscope, an electron microscope last week, and it only scans in grayscale. So, and the contrast can be adjusted when you do the scanning, but the person who was helping me said, oh, let's start out with low contrast. So here's just one little sample of something that, you know, the upper left was what I had, then I upped the contrast, and then I played with it to crop it. But what I'm going to do today is run you through just a whole bunch of just one image of what I went through.

So here's one where this was the original scan. The crystals are salt. So the cubes. And then when I, I can't remember actually if this was in camera or back after I took it back, but I think it's working with it in Photoshop. I upped the contrast and then I colorized it without doing very much, just plain colorizing it. And then I played with the color so that it was a lot more. What are you guys seeing, by the way? Because I have two monitors right now. Are you seeing where it says next slide or are you seeing full screen?

I'm seeing presenter mode. Okay. I'm going to unplug the second one. So now you're seeing just full screen, right? Yes. Much better. Okay. Sorry, but not too much lost. I mean, it was kind of doing for me what I'm about to do now. So here I played with a little bit with the values and views. So you can see a little bit of a green haze coming in and just for a side-by-side comparison of what happens when you just bring in deeper, deeper color, the blacks are blacker, although some detail is lost and bringing in a little bit of a green. So cheating a little on the monochromatic. And I did the same thing with red. So this is the basic image just with really, really intense red. And then here it is playing with the value a little bit. And actually the JPEGing artifacts are beginning to show that's what the blocks are, I believe.

So that's also another level of interest in playing with these. And here they are side-by-side so you can get a sense of what's happening. And here it is in... Pinks with a little bit of green and then side-by-side with lots of color. And there it is with lots of color where, you know, for me, it's the monochromatic brought me to this, but I personally am still drawn to the color. So I have a lot more of them that I did, but I didn't manage to get them all into keynote and not a lot more, just some more. And, you know, for me, this kind of work to just show the progression through one slot, one image and what I've been doing with it. So, okay, so that's pretty much it for me. Very cool.

Yeah. So that was crystallography? It was an electron scanning microscope. Okay. Actually, I did not know that it was a microscope. I know that RISD actually had one. So then many years since I taught at RISD, it's been seven years, I think. And it must have come there now already in the second generation. And the last class I taught was digital plankton and kind of no one told me. And then I was in this show up in Providence. I stopped back in to see what was there.

So they said, yeah, you can use it. And I didn't get the best quality because of like, you know, I'm not a scientist. And I'm not a professor. And I'm not a teacher. And I'm not a professional. And I'm not a master. Of the detail and we didn't do that and of course the person who gave me the specimens it turns out actually had a whole bunch already prepared from his previous research time ian bishop as a scientist who gave me these plus they had some they're already prepared but it was good because we all learned and so it's really cool there's a lot of times when I show what I do with plankton people say oh but I saw this fabulous shot with this detail and I'm like well I can't do that with what I have but what's interesting is the challenge of working with it monochromatically and what you can pull out of it yeah what's monochromatic nice nice merging of science and art I love it yeah and then you know where I'm going to go with it next I don't know but I thought that progression that I went through was would be of interest for the group no that was really interesting thanks cynthia all right next

## Chalda Maloff [12:30](https://www.youtube.com/watch?v=90wRPqAgA98&t=750s)

Up is chelda hi welcome hi I work in Photoshop can y'all see this yes I work in Photoshop mostly just freehand tablet drawing and some visual effects for most of my artistic life I have loved brilliant colors and I've been a fan of the color of the colors very deeply saturated works and a few years ago a gallery that I was successfully working with asked me to do some desaturated pieces they didn't have to be totally gray scale but low saturation with maybe some pops of color and my reaction was annoyance I was very annoyed to be asked to do something so different from what I normally do and what I love to do but as I got into it I found this assignment very appealing and I really enjoyed it I found it was a lot more demanding of me it really some flex some aesthetic muscles that hadn't been used previously and felt that I really grew as an artist up and did it for this first time in my life and like one of the things that I really love is that they're just they're just one is that they're just all just there in the best way and this is so different so there's this really nice kind of project that had to be done in the video so like this is I'm going to make the used this is the same very old process that has just been done in the video it's so new and it's like it's like that's an old process of work that's right it's so new and it's like that's the I'm going to make the first one in the video of this time of this because it's so new and it's not like it's like in the old process of work that's like I'm going to make it in the new place and it's like in the same place and it's like that's you know, with some pops of color.

And I've enjoyed it a lot. I continue to do it. I call them my half lights. So they've grown with me as my other bodies of more usual brightly colored works have developed. These have developed too. So that's all I have. Thanks. Thanks. Awesome. Okay.

## Sahar Moussavi [15:18](https://www.youtube.com/watch?v=90wRPqAgA98&t=918s)

Next up is Sahar. Hi Sahar. Hi Michael. Good to see you. Hi. Looking forward to seeing what you have to show us today. Good to see you too. Thanks. I will turn off my video to share my screen because I'm sharing from my phone. Can you see mine? Not yet. Is it connected? Yes. Yeah. It's getting there.

Okay. So... This is all's going to be up to your hands. It's all up to you. We're going We're on the initial screen here, but we're seeing something. Okay. Okay, we're starting to get there. Okay. Okay, now we are. Okay, so I'm Sahar Moussavi. I'm Zooming from Iran, and I want to present some of my black and white pieces tonight.

I will start with some of my hand drawing black and white. I know it's it takes patience, but I just wanted to include them because I like them and I used to draw these drawings with a black pen and it was meditative and it helped me to focus. So I will go to my photos. I usually take car light photos at night and I try to find some shapes and objects in these photos by moving my camera or just taking the photos while I'm driving or the car is moving and I found that when I convert these photos to black and white, it changes to a new material. So I use this new material in my pieces as the main element or as part of a collage. For example, this is actually an original photo that I took when I was in the UK. So I took this photo and I used it as a model for my piece and then I added another layer of black and white in Photoshop and then I used the same photo for the next piece in black and white.

So I used this material in different ways. After a while, I started discovering that, discovering that different ways to change the lights. I was really into these lights and I started to change the lights and I started to change the lights and I wanted to discover new objects and shapes. So I used Glitch Lab Android. And the result was interesting for me because now I had a 3D object, which was totally different from the original 2D photo.

Maybe I can zoom. And you can see that the light has changed to a 3D object. And what was fascinating that these new 3D images were stronger than the colored versions. It seems classic and powerful, and it suddenly changes the whole atmosphere. It really doesn't. The colored version doesn't have this powerful effect.

So I tried to create other shapes from the light. So all of these pieces are originally the light photos. And I modified and changed them in Glitch Lab and Photoshop and other softwares. So I created other pieces based on black and white glitch photos to show. So movement or shades like this one. And I think these qualities are best shown in black and white images because you are not confused by the colors.

These are other black and white pieces, which are digital collages of 3D renders and glitched or original photos. The same photos that I used to glitch before. These are also another collages using 3D renders and other objects and glitch photos. And this is one of my recent pieces that I discovered that when I convert the photo to a black and white photo, I can see solid objects.

And it has waves. And it's made of matter. So I added shadow to the lights. And I discovered that it really looks like a solid object. I really didn't touch the photo that much. I just changed the levels and added the shadows with a brush at the bottom. So my last two pieces are. These are images based on light photos that I converted them to black and white images.

And it looked 3D to me. I don't know if you can see that. But it wasn't 2D anymore when I converted it to black and white. And I changed it in Photoshop. And I added, because it looked like an object to me, a solid object, I added reflections and shadows. And I added some shadows. I always look for 3D object. I don't know why I cannot stay in 2D mode. And it's really different from the colored version.

I don't have the version, actually. So thank you so much. This was my presentation. Thank you for hearing. And I will stop sharing. Thank you, Sahar. It was a very intriguing looking. I have a few questions I'll ask you a little later on about your setup for doing that. OK. OK.

## Deann Stein Hasinoff [22:44](https://www.youtube.com/watch?v=90wRPqAgA98&t=1364s)

All right, next up we have Deanne. Deanne, I haven't seen you in a while. It's good to see you today. And looking forward to seeing your images. Yeah, you know, the life schedule often interrupts my ability to participate. But I'm glad. This, I think, might be the last week I can be here for a while. But I'm glad to be able to be here.

See if I can get this going. It's been a while. OK, so I pretty much, I do work a little bit in color. I'm not sure why it's not showing up now. OK, so maybe we'll stick with this page. I work mostly in black and white. This originally started with when prior to 10 years ago, I was working. OK. And I started working with charcoal drawing. And I really loved that medium. And then when I had to stop using it, I took that monochrome and just applied it more digitally.

So I do it because I think when I'm dealing, the work that I deal with tends to be more emotional in a way. It's my own personal experiences with various things that happen in my life. And I feel like the monochromatic palette helps you hopefully process the emotion of the work without getting distracted by, why did she pick that color of red or gray or blue or whatever? That you would actually focus more on the work itself.

And that has carried over into my work in general. So when I go to start something in a new, if I'm trying an app or I'm trying to do something different, I pretty much always just find the black and the white. And that's what I work with. And so it just helps me kind of connect more with what I'm working on.

So for example, these works, which are, I was using it, I was messing around. And they have, all of them have all these really lovely colors. But I was like, eh, I don't need all that. I just need my black and my white. And then I feel like I can actually get where I want to be as far as what I'm trying to express.

When it comes to color, sometimes in my photography, I will use color. But I'm going to try to change pages again. And hopefully it'll work this time. But when I'm looking at an image, I almost now, almost immediately want to change it to black and white. Because then it allows me to see the color. And then it allows me to abstract the image a little more, for me, more effectively.

So when I look at vacation photos of other people online or whatever, sometimes I've emailed my friends and said, could you send me this one particular image? Because I see something in it that if you were to change it to black and white or monochromatic, then it will, I think there's something there, like something that has sort of a compositional value or something like that. And so my friends will very kindly send me things. Or I recently worked with one of my friends is doing a remodel of a vehicle. And he was taking pictures of the process and just the car and all its different parts all taken apart. And then I asked him if I could take some of his images. And it worked. And then he said, OK. So I took some of his images and I abstract them. And the first thing I always do is switch it to the monochromatic.

So like I said, it's just my way of connecting, hopefully, with the emotion of the work or the compositional value of the work. And I've tried to do color on occasion. And it just doesn't work for me. This is just how my brain thinks, I guess, when it comes to doing, creating artwork. Of course, the dog always barks.

And that's it. Thanks for letting me share. Thank you, Deanne. I always love your black and white work. It's just, it is very strong. And it has a lot of emotion to it. So I think you really are on a journey. And I think you're going to be on to something with all of that. So thanks for sharing. OK. Next up is Lee. Hey, Lee. How are you doing?

I'm doing great. Can you hear me? Yes. Yeah. Got you now. Awesome. I'm doing fantastic. But I was hoping Colin and Cynthia and Tommy could go before me because I've been trying to edit down what I want to show. But I can't in the next minutes. I'm sorry. OK. So you want to go last? Yes, please. All right. That's fine. Thanks. OK. Well, Cynthia, then I guess you're up next, according to my screen here.

## Cynthia DiDonato [28:22](https://www.youtube.com/watch?v=90wRPqAgA98&t=1702s)

OK. I will unmute myself. Now share my screen. OK. I did something. OK. I don't know what happened. Well, here it is. OK. I'm not sharing that. Sorry about that. That's OK. It wants a plug-in. OK. And for some reason. Oh. I'm sorry. I'm sorry. For some reason. I'm going to stop the share and start again. OK. For some reason it was acting strange. OK. iPhone. iPad. Here we go. Share.

OK. Please connect to the, okay. You can see everything now? Yes. Okay. All right. At first I thought, well, I didn't know if I had too much to share, But then I went through my work and found a number of things that were in black and white. The first one is called Open the Pod Doors, Please How from 2001 Space Odyssey. This is a manipulation of paper.

I found that I thought was interesting. And that's how that happened. I manipulated it in Procreate. This other one has a spatial theme called Major Tom to Ground Control. This is a photograph of a shingle on the side of my house. And again, I manipulated it in photo, no, not Photoshop, Procreate and then moved into iColorama.

Here, this was called It's Out There. This was totally painted in Procreate and manipulated in Procreate. And then I manipulated it within Procreate. Here's another image which is an NFT right now called Totally. I'm sorry. Trying to remember. Oh, Piercing Darkness. That's the title of it. And again, that was painted in Procreate and manipulated in iColorama. And there's a little cheating going on there. You can see a little of the pink in the right hand side of the image in the upper right. And then there's a little in the middle.

This is called Overdressed. This is a photograph of my family room that I was able to manipulate again in iColorama and got this rather interesting image. And again, there's a little teeny bit of green in it. This is one of the latest black and whites that I created. This is called Metallica. Totally painted within Procreate. And manipulated within Procreate to create this image.

This is, again, another image that was totally painted with brushes in Procreate and then brought into iColorama. That didn't have a title. Here's another. I like often to manipulate my analog art. This happened to be a painting. This is a pastel of a figure drawing that I played with over and over and over again in iColorama and came up with this image, which is untitled.

This started its life as a jelly print, using a jelly plate to make it print analog. And then called it Wild Flora and was able to manipulate it in iColorama. Here is one of my slow. I have a number of slow shutter pieces. This one is totally black and white that I was pretty fond of. I like the different shapes that emerged here.

This is one I've done just lately called Femme Fatale. And again, painted in Procreate, manipulated in Procreate, and finished there. Wheels. Wheels and Wheels, which started out as a photograph that I manipulated in iColorama. The Big O just started out as a mixed media collage that I was able to manipulate.

And that brings us to the end. I thank you for letting me share. Thank you, Cynthia. Some really diverse looking images there. Pretty cool. Thank you. Thanks. Okay.

## Colin Goldberg [34:08](https://www.youtube.com/watch?v=90wRPqAgA98&t=2048s)

Next up is Colin. All right. Thanks, Michael. So, yeah, I actually was thinking of what I could show. And originally I was going to show a little bit about Yves Klein, who is a great artist. And he created a whole series of monochromes based on a color he invented, International Klein Blue, which was the inspiration for this salon's kind of graphic. It's that color.

But I am instead going to show a reel of four NFTs that I submitted to a film festival called Chesapeake Film Festival. And they're all basically gray-scaled. And they're all black and white. So let me share my screen here. Okay. Can you guys see my screen? Yes. Okay. I'm going to try to do full screen. I'll see if this works.

. Discover Houston recommend vector transfer. Computers now have primary control of critical vehicle functions. Thank you. Thank you. So yeah, those four NFTs are based on digital drawings that were created about 20 years ago. One was from 2003 and the other three were from 2004. And they were all drawn in Adobe Illustrator. And then over the last couple of years, I've been taking them and animating them and coming up with these sort of soundscapes. So each one is a 23 second loop. And what I've been doing is minting one every month. On the 23rd. And this will be the 22nd.

And then the last one will be minted on my daughter's birthday on June 23rd. So we share the 23rd. I was born on December 23rd. So hence the obsession with that number. So yeah, that's it. So thanks for letting me share. I guess I didn't realize you had animated the kneeling icon image. Yeah. That was really interesting to see since, you know, I was used to seeing it as a still image before.

Yeah, that one was actually, you know, it was, it was shown in the Southampton show, but it was also shown at, it was in Hearst Tower. And there, it was, there's an augmented reality component to it. I could just share that really quick too, because it's kind of interesting. Can you see my screen okay? Okay. Yeah. Okay, so that piece, what I did was I had the work printed pretty large on vinyl, which was shown in Southampton. And then this is the piece in Hearst Tower, and it was actually purchased recently by Hearst.

It'll be, and the NFT also was, was, you know, sort of a companion piece. So when you view the, the physical work through this app called Artivive, it actually sort of transforms into the NFT on the wall, which you can see. So that's, you know, kind of incorporates both the physical aspect and the animation aspect through AR. That's really intriguing. Yeah.

Thank you. Thank you. It was, it was, it was interesting, Colin. Your first three NFT animations with strictly black and white were really, really dramatic. And then seeing the grayscale in that last one gave it a lot more softness to, to the animation, which, which was very, you know, a big contrast to the first three.

Yeah, I feel like the first one and the last one are sort of on their own, you know, in the middle to kind of relate to each other. And there's, there's a couple more that are like that with a real hard edge, almost like op art kind of influence to them. Okay. Interesting.

## Tommy Mintz [40:38](https://www.youtube.com/watch?v=90wRPqAgA98&t=2438s)

Okay. I guess Tommy's going to go next and then we'll have Lee after Tommy and we'll see if anybody else volunteers for, for sharing. Hey, Tommy, it's good to see you. Hey, Michael. Good to see you too. I'm trying to be complicated here and use audio through my iPad because Bluetooth works through that. And video through my computer.

And is everybody seeing my screen and hearing me? Okay. Yes. Great. Great, great, great. So it's interesting, Colin showing work from 20 years ago. So here's photography from more than 20 years ago. I, I, it's black and white photographer. And I like one in 10 men have chromasia, the sort of red, green color blindness. Is this more common? No. So I'm very comfortable with black and white sort of as a tonality that I'm working in. And I would scan my black and white pictures and bring them into a Corel photo paint originally and stitch them together.

Creating, you know, this sort of traversal of time, but I would also load it in as a duo tone, giving it instead of black and white, two different tones. Okay. So I would print these in a Verneda Lights yellow maybe and a deep purple, which I enjoyed. And also I would print these laser, laser printers, tiling multiple pages together to print them large. And laser printers seem to do well with this kind of monotone and didn't do so well back then with, you know, we needed an inkjet printer to really get a nice photograph of, you know, sort of color tonality. So these are things I was stitching together in, in Corel photo paint. And then I also began to consider them source material for outlining that I, so here's the original collage.

And then maybe about a year later, two years later, I decided I want to use a brush tool, put a new layer on top and, and outline. So this is March, 2002 and create coloring books. The idea was these printed together as a coloring book and color them in. So it's something that now I'm looking back on sort of work from long time ago, seeing this progression from one thing to another and to my contemporary work where I'm working still with my computer. And I'm still in this very, oops, I just clicked over to this right here with multiple pictures that I'm stitching together with an algorithm that creates black and white layer masks, essentially alpha channels, I'm calling them, of areas of pixel by pixel difference. Two pictures compared, what's different is a white pixel. What's the same is a black pixel.

And so this is sort of a byproduct of my image making process right now, but I do find them to be compelling, you know, on their own. And I've been very much enjoying, oops, I think I lost things here. I'll just leave it on this. There we go. I'll stop flipping through too quickly. I, you know, very much enjoyed the reductive quality that this, and this really is monochrome. This is black and white. There's no grays in this. It's just larger or smaller dots of white, you know, together here as you zoom in. And this reductive quality of presenting information, I think, is a very digital vocabulary.

And I think it's kind of powerful. So I've been very, very much enjoying this kind of, sort of a reduction back into monochrome that I've been stepping into with these. So that's all I want to present, sort of newer work and older work, and have a little comparison there. Thank you. Wow. That's intriguing, Tommy. I've never seen that older line drawing kind of work before.

That's very. So it feels like a really natural. Progression from what you were doing 20 years ago and what you're doing today. You know, technology's changed, but your aesthetic, your, the way I think that you look at the world, that sense of time lapse and everything is really, really underlying all of it. That's cool. Fantastic. Thank you, Michael. I'm glad you see that. Cause that's, it's kind of clear to me now. You know, it's good. It's good to see that. That's it's very nice. Thanks Tommy for sharing.

Okay.

## Lee Schnaiberg [45:59](https://www.youtube.com/watch?v=90wRPqAgA98&t=2759s)

We've got Lee and I saw a message from, from Susan. If, if Susan's still here if you want to share if you want to raise your hand. Oh, good. Pat's Patrick is here as well as wants to share. Okay. So Lee you're up next. Okay. Hi, thank you so much. And I'm going to be really speedy and I'm going to talk over videos, but let me see if this is going to work. Is that working? I see your screen. Oh, you see the screen. Okay. Let me, so for, since 1992, like everybody here over a long period of time, I've been doing one thing regularly consistently, and that's trying to draw a line. That's longer than the guy who used to poop in cans.

His name is escaping me right now. But a month. He, he, he tried to draw the world's longest line. And so I figured I don't have a machine to do it. So I start with paper and, and nice pencils. And what, what I, what I found was like what's a higher said it kind of gets meditative. This is really sped up. This would be like hours of me drawing this line, but it's all about resonance and, and ratios and the ratios took me forever. And the reason I'm doing this. I'm showing this one and it's really sped up, but this line where is because it's one line. When you put, how do I share screen. When you put the stop share. When you put something on one side of the line. It only stays on one side and not the other side. And so what I end up with is pieces like you often see behind me, stuff like that.

But again, like, like the line. By making it electronic. And I'm hoping this is going to be able to share right here. It can do stuff like making modular. And I don't know if you can hear me over the sound. Yes. So, I found that I'm like by putting them through electronics through video and making it digital. I found that I can mix the edges. And no matter which way I mix them. It becomes a different piece.

So I have a big fascination with this. I've been doing this for since 92. And I VJ and I do other electronic work. But, and by the way, I made the clash of the sound too. But so I hope you enjoy what I do with this electronically, because this is just sort of the beginning. And I wanted to cut this down but I thought this part. Really makes sense to have. Because the being able to see it from different sides through digitizing it really makes it appropriate. I think for expressionism.

And this last little piece which is about three minutes. I'm going to raise the volume I hope that's okay. Would that be okay thumbs up if it's okay to raise the volume. I think so. It doesn't sound too loud right now. Yeah, just gets a little annoying. Not too annoying. Now be quiet. So this is all one piece, but just looking at it in different ways and like I said modular. So you could stack them or flip them around.

And where they meet up always changes. But then. 153. Starting very soon. I start to see what else I can do to this. And even though they're usually on canvas or ink. I always found it's pretty amazing to throw to throw really what I thought was subtle things like fish eye lenses or things that can move.

Thank you. Thank you. It actually fades out, but I thought I should move on to give people room. But thanks for watching it. I really appreciate you watching it. Thanks. Thanks, Lee. Very interesting. Interesting. Actually made me think of some of the late 1800s mathematicians that were working on what was called mathematical monsters, the kind of precursors to fractals. So, yeah, really, really neat. Thanks. I really appreciate it. And it's Manzoni, the guy who said he made an infinitely long line. Yeah. But it wasn't infinite and it was mechanical. It was just a roll. And the can and the roll is at the top of the museum of the 900 in milan I saw both of them wow did you see the was a can surrounded by a bulletproof glass well I mean he did a series of his dad his dad ran a can company you know some of them exploded though some of them some of them exploded yeah you know and there's all there's a great you know, some of them even say that, you know, there were, you know, that there were plaster replicas of Pooh.

Yeah. And you only know if you open it and if you open it, you ruin the work. Exactly. The joke's on, but some of them explode and that's not, not, you know, art is very dangerous sometimes. I really appreciate you checking this out and letting me play it. Cause it's. It was awesome. Thank you. Thanks. Thanks so much.

## Patrick Lichty [55:44](https://www.youtube.com/watch?v=90wRPqAgA98&t=3344s)

Hey, Patrick. It's good. Here haven't seen you a while. What have you got for us today? I got a couple of interesting things. One is a point of view I should probably at least go on. Welcome to lovely Winona State. Let's see here. I'm going to do a reflection, which I think is kind of interesting. Let's see here. Let me do the share.

Let's see here. Go to desktop. And let's see here. Of course. Let's see here. Finishing up some stuff for Isaiah. And my Negin sends her her best. So network conditions and time, of course, are hard over in Iran, as we know. So what I want to do is I want to show a couple things. This is a work of mine from 1995.

And this what does this have to do with monochrome? It has to do with the fact that after 2000, between my really engaging in being a serious artist in about 92, 93, but I was starting to do it about 90. A lot of my work was really incredibly colorful. This was, of course, using. If anybody remembers. These are some of my favorite pieces of art. If anybody remembers Kai's power tools.

And you know, very psychedelic stuff. But there was a reason for this is that I've had vision problems for most of my life. And I had inoperable cataracts that were getting worse and worse and worse and gut. And they finally came with hypoallergenic lenses that I would not reject. Project by 2000 and you can see where you know honestly it's very interesting is that isn't the fact that I was colorblind actually the cataracts were actually because they actually absorb a lot of infrared you know as my reds were very dull and so in and a lot of my colors are very dull so the thing is that in creating work like this I didn't realize that my work was really this psychedelic you know to me I thought it was much more muted than than this so that's kind of the thing I'm not going to show anything from 2000 although that would be interesting but for about 2000 to 2003 most of my work was extremely monochromatic because when I had my cataracts out if anybody's had cataract surgery you know what red is like again in no uncertain terms in other words it's like you are seeing crimson in an entirely new way and so I just thought that color was so overwhelming for me that I decided to be largely monochromatic for about two three years except in my video work so let's talk about monochromatic there's a project that I've been kind of showing around a bit called studio visits it's the cover of it is on my it's a book it's the cover is on my what's your patrick m lichty facebook page and it's basically completely AI it's about a human cure a human curator myself basically creating an exhibition entirely of AI artists you know in other words basically we're going to get rid of every all the flesh and blood and all the flesh and blood artists yeah because they're just too much trouble to deal with anyway so just get rid of them goodbye and this is 50 completely AI generated artists and their studios and they're going to be doing a lot of work on the exhibition so I'm going to that were either generated by actually a lot of a lot of re-rolling in mid journey and then everything all the statements I made the names up but and then the statements were made up from the names and their context in GPT-3 so here's victor's studio so as you can see for this our idea is to work with an application that's going to be very happy to get that so we're going to have a big project that's going to be like a sort of like a class on this but it's just an amazing sort of things that we're going to be doing in the next few years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's going to be in the next 10 years it's the gallery, you know, I mean, the, the, the studio as, you know, as artistic space and the way it's been represented sometimes in black and white photography, I think it's been very interesting.

And, and then playing this off of the idea of the, the, you know, artificiality of, of, of AI. I'm not resolved with it, you know, but I think it's, it's, you know, as, as I wind up saying with a lot of this, I've been doing AI for probably since about 20, we've been doing generative since about 1995, but doing AI as such probably since about 2016. And sometimes I kind of feel like we as artists, we're either chasing something sublime or sublimely chasing our tails. And this is kind of what I wonder about some of this work, you know. The other thing that I want to talk about is that I was having a conversation with my gallerist, with a gallerist of mine, Lee Wells. In Athens. And he was trying to reproduce sort of like her Brits like photography, you know, in, in, in mid journey and actually was going to sell a couple, you know, and but it is AI, you know, his collector kind of scoffed a little bit, but the thing is, is that I'm also working with, Bonnie Mitchell over at, SIGGRAPH for a, a series of, of pieces that, you know, that ride the line between, AI and, hand-drawn.

And this is just an example. What I did is I did something along the lines of, of, of my friend Lee, but what I did was the following, which is really weird. In other words, I started to play with the notion of hand-drawing and illustration. And this is where I started going. In other words, it's like the idea of mid, mid, mid-century vernacular and, you know, and, and kind of like New Yorker style, illustration and hand-drawn and, and, and such, and, you know, and pencil drawing. And of course you can see that, you know, there's a leg that's very wrong and there's a, a very weird, you know, you know, the lamp is a little bit off and all these sorts of things, but, you know, I, I, I'm still playing with the notion of the uncanny. I'm probably shifting over to runway ML to start doing some video work soon.

And, because I'm almost feel like I'm kind of, kind of maybe hitting the wall a little bit with the, with the still stuff and actually maybe going back to 3d scanning. But this is, number one, I think that, you know, the idea of color versus monochrome is very interesting to me because, also like another friend of mine, Joseph DeLapp, who has, red, orange, color blindness, you know, he's, you know, he wears the, he wears the, orange glasses and then, you know, myself having had, you know, diminished color, reception for a long time, you know, the, the idea of monochrome versus chromatic is very interesting to me. And then on the other hand, you know, the idea of black and white and machine learning systems, you know, is, you know, is interesting along with the idea that I'm also interested in the idea of uncanniness versus abstraction, which I'll be talking about, at, at Isaiah, next week.

And so anyway, sorry, I'm probably going on a bit too much, but, this is kind of what I'm playing with in regards to this. And, thanks for listening to me ramble on. Thanks, Patrick. Wow. That's a, I love the book. I love the book project idea. So that's, that's really interesting. Well, you know that, you know, the thing that I think is interesting about that is that, you know, Duchamp's, Boynton Valise, you know, it was like, you know, the, the gallery in the box. Yeah. Yeah. So think about this, this is, this is a, this is, this is a, this is a museum catalog that precedes the exhibition, you know? So in other words, here's the catalog to this. And then of course it's perfectly, you know, in line with AI, you know, in other words, here are artists and statements and that sort of thing from artists that don't exist for a, for an exhibition that is yet to be shown.

And so in many ways there is just this, you know, just this glorious fakery going on. But as you know, I did with, Claudia Hart and, Rachel Clark, a few years ago. We had a show called The Real Fake. So this is a real fake. So, you know, and so I think it's, you know, a fun thing to play with. Cool. Well, thank you.

All right. Susan,

## Susan Detroy [01:06:54](https://www.youtube.com/watch?v=90wRPqAgA98&t=4014s)

You still want to share? Okay, great. Thanks. Good to see you. It's been, inspirational and interesting because, because so many of us have been in the museum industry for a long time. And so many people have, that have presented are going back in time and coming forward. And, so I'm going to share my screen.

Okay. Okay. So I, decided I was going to, share some work that I've been doing that seems to fit in the idea of, monochromatic, a mix of monochromatic and color that, people are talking about that, ironically, of course, and not synchronistically seem very similar. So, importantly in the, what I'm going to share is that, photography was my entry into the arts. And whenever I feel like photography always is there, it's at the base of what I do. It's my leisure time. And in Oregon, we are in a gigantic bursting fourth spring and, I have, many plants, many flowering plants. And every day when I walk up, there's some new adventure in flowers and plants in my yard. And then if I go by, I'm like, oh, I'm going to go to the flowering plants. And then if I go by, I'm like, oh, I'm going to go to the flowering plants.

There's so much to look at. So it's very energizing and it's not at all overwhelming. So many colors are happening right now. So I have always been a photographer. It's how I began my artist's journey. And I just, I thought I would show that I'm very, connected right now with the Hipstamatic camera app that's on my iPhone. I love the different filters and combinations that I can use. And so I went through what I've taken lightly and pulled out. These are some iris, early blooming iris. I think they're called Siberian that are in my yard. And I thought I would do a comparison between all without color and color, similar to what people have already shown. Also, lilacs.

Oh my God. The lilacs right now are so fragrant and amazing. And, so I walked out into my backyard and took, this is how they actually look close up. And then of course, also, I use the Hipstamatic camera to generate, I have my camera app set. So that's. It takes a picture, a regular iPhone photo picture, and it does the filtered app combination that I have chosen simultaneously.

So I end up having this and that at the same time. And this is a separate app filter combination. Just, I'm in love with the lilacs. Also, this is Trillium. That I saw on a walk, I think last week near my house. And here it is. I think that's actually some little bird poop on me pedal, but I like looking at how different it feels to have color, with this particular Hipstamatic app. Yeah.

So I'm just going to make all of it a little bit more black. So I'm just going to make it a little bit more black. So I'm just going to make it a little bit more black. And you can see I just want to make it a little bit more black. And you can see I just want to make it a little bit more black. And you can see I just want to make it a little bit more black. And you can see I just want to make it a little bit more black. And you can see I just want to make it a little bit more black. Background, lower right-hand corner, there, I discovered these very, I call them lonely trees that are planted in an industrial area that is west of my house. And at night, there's nobody around there. And I go over and take pictures of the trees in that industrial area with the different apps that end up giving a different, various ideas.

This is a new camera combination. And I just think it's, okay, so all of this work that I'm doing, I often use in the NFT and the layering work I did. So I'm going to show you, here you can see that I've generated a tulip pieces from a tulip tree that's near my house and created work. And I did the same thing here using spring flowers. This was actually made a few years ago, but you get the idea that I, the proliferation of flowers feels invigorating. And this piece that is more a video, this is from a year ago.

Has a variety of florals that were taken at the Rose Garden last year. I think it has sound. And that it was changed into an NFT. So I think that's it. Where am I? Can I get back in? Stop sharing. Oh, that was so easy. I got back really easily. All right. Thank you, Susan. You are most welcome. The flowers were lovely. Especially the monochrome quality of that feels very page-y at times. It does. I mean, being able to, you know, I'm not sure if I'm going to be able to do this, but I'm going to be able to do this. And I think one thing I like about this iPhone that I have with the Hipstamatic iPhone app, with the camera app, you can get in pretty darn close. I mean, it's not macro, complete macro, but you can get in very close and show the shapes and they become a kind of sculptural pieces.

You get in close like that. And I'm always, I'm almost always pleased with a little visit outside into my yard for a break and to take a few photos of what's blooming. Cool. Yeah. Okay. Looks like we have two presenters still

## Lee Day [01:14:44](https://www.youtube.com/watch?v=90wRPqAgA98&t=4484s)

Here. So Lee Day. Hey, Lee, it's good to see you. Haven't seen you in a bit. It has definitely been quite a while. I got on at the last minute. I was traveling actually and just got back. Oh, cool. All right. Well, good to see you. And I picked up on the theme and put together some stuff that hopefully I haven't shown already. But one of the, is that coming up there? Yes. So one of the projects I've been working on a fair bit recently is shooting in the stream next to my house. It started in COVID. I was stuck in the house and there wasn't much to do. And so I started shooting these images. Not all of them are reasonably monochromatic. I'm glad you called it monochromatic, not black and white because, you know, they're very muted. But they are color images, all of them. So, you know, one of the things that I really, really like about these images is that they're very beautiful.

They're very, very beautiful. And so I started shooting these images and I think one of the things that I really responded to, especially being stuck indoors with COVID all of that time, was the energy that you find in the water, in the stream. And the sort of, you get close enough and even a babbling brook becomes explosive. So this is all from there.

There's also something about the depth almost feels like smoke in here, but like Cynthia's work. I think it was Cynthia. I think it was Cynthia. And then one of the other projects that I had done in coordination with this was taking some of these images and trying to assemble them into matrices of multiple images.

And these are two examples of that. So they're pretty simple. And I'm still working on this stuff as well as other work. I just got back from Japan. I was shooting more of the train abstraction stuff. And so hopefully I'll have more of that in the near future. Oh, but we got a lot of editing to do so.

So I love, I've not seen this kind of work from you before. So this is really cool. I love seeing water like that. So that for me personally, it's, it's really intriguing to see that. Oh, thanks. Thanks. Yeah. I really, I, you know, it, it was the one release in a way during COVID where you had like energy instead of you sitting inside all of the time and, and just being bottled up and then you could go in the stream and, and it's just all, there's emotion somehow in the stream. I feel like it was the only place there was emotion around the house.

Well, thanks for sharing. That was really, really gorgeous work. And I'm looking forward to, to the new stuff then. So if you just got back, so I guess you'll have a lot of editing to do, huh? Just a ton of editing to do. Yeah.

## Verneda Lights [01:18:34](https://www.youtube.com/watch?v=90wRPqAgA98&t=4714s)

Okay. Okay. Vernada, I guess you're, you're last but not least here. So thank you for presenting some work here today. Yes. I'll give me a minute here. I'm trying to capture my screen here. Let me get this adjusted. All right. So this is from my project. This is a project called Ghost. And Ghost is all black and white and, or monochromatic.

And I did it to honor my parents and my younger brother who are now deceased. I was their caregiver. And while they lived, I took photographs of them. And after they passed away, I added to the photographs in order to better tell their story, my story as well. So let me start. I'm not seeing anything yet. Okay, great. Okay. All right. You see it? Yes.

Okay. So this is called Tribal Reality. And it's a self-portrait that I did on my first Columbus Day without my parents. And I'm going to show you a picture of me. And my brother. And I called it Tribal Reality because, you know, my family is my tribe. And my people are the Gullah Geechee Nation of the South Carolina Low Country, which is closely allied with the indigenous people who inhabited the Carolina Low Country as well. And so I did a photo montage that would capture that spirit of it, of survival and also of heritage as well.

And this is Patriarch and Home. It's my father, Verneda Lights, Sr. And I put together or restored a vintage photograph of him taken around 1946. I wanted to do a restoration to present to my oldest brother, who's Vernon Jr., for his birthday. But there was a huge scratch. Along the face of the original photo.

So I scanned it in the Photoshop. And pixel by pixel, I repaired the wound. That's how I felt about it, the wound. And much as you would if you were doing plastic surgery. And then I decided to superimpose it upon the homestead that my dad bought back in 1959, where I grew up. And where I... Currently live.

And made him semi-transparent. So you could see that, you know, he's the spirit that basically hovers over the property. And over our lives at this point in time. So Patriarch and Home. And this is called Hidden Mother. And Hidden Mother was named after a tradition that photographers, used to use back in the 19th century.

Where if they wanted to photograph children and the children were fidgety. They would have the mother hold the kids and then cover themselves with upholstery or something. So it looks like she was just part of the, you know, background and the kids would behave because she was on the set. So having her on the set and having her on the set. And then I lost my own mother. I came across a piece of a garment that she had made from some lace that I bought her in 1983 with my first real funds as a physician. You know, my mom liked to sew. And so she created a garment from this very expensive lace fabric that I purchased and sent to her. And, but it was all that I had left of her physically speaking at that point in time. So I draped it. And then I put it over me as a way of being close and, you know, to say, okay, my mom's here and she is indeed hidden.

But let me do something that would bring this to mind historically in a way that's meaningful from a photographic perspective. So that's Hidden Mother. And this is me. You know, I get very pensive. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time. And I'm at the top of this all the time.

And I'm at the top of this all the time. And I'm at the top of this all the time. Pensiveness and that laser stare where you're determined to try and figure something out, but maybe it might elude you and it may not show up until sometime later on. And this is obviously me, you know, just weirded out being in my home space by myself.

In between, it's called. And this is my brother, Grady. His nickname is face. And I took this photo of Grady back in 2008. Grady played a very important part in my journey as a caregiver. And he would always come and cook good food. My dad was a master chef and all my brothers cook. My brothers cook way better than my sister and I do.

And I wanted to capture Grady. Whose spirit likewise resides in the house, especially in the kitchen. And here again is Grady and my mother. And the banana pancakes, which he was so famous for. My mother passed away of breast cancer in 2015. And here I captured her. She had a very long brain. She was just flipping it over. Her shoulder, you know, she lost that hair when she started getting chemotherapy.

And in the hair that fell from her head, I would go behind her and I rolled it up like balls of yarn. And did a ball of hair for each child. And there are seven children in my family. And so I kept this photo because. It reminds me of my mother and her hair. And this is called the road to Savannah. You know, after my parents died. I was a caregiver for my younger brother who had a stroke. And when we couldn't care for him at home any longer. He had to be admitted to a skilled nursing facility. And I traveled from my home in Port Royal to Savannah to visit with him. As often as I could. And I took pictures of the clouds in the road. As I went along the way. And this particular journey was, you know, had some pretty ominous things going on with him. And his illness and the history of his debility.

So I thought I would capture the clouds. So that you could feel firsthand what it felt like to. Basically travel towards death. You know. So that's the road to Savannah. And this is Casablanca Circle. And I live in the deep south. In South Carolina in the low country. And low country is famous for its moss. You know, and trees, the oak trees. And this particular roadway. I wanted to capture it because. When I was a kid, I had asthma. And had to walk sometimes to the emergency room with my mom. On this road, which was not paved at the time. It was dusty. And much more narrow. And looking back, it's like I could see my mom. Walking with me. She would slow her pace. So that I would not be rushed. And then there were times when the dust and the heat was so intense. That, you know, I couldn't walk any further.

Because I couldn't walk. I couldn't breathe. And my mom would put me on her back. And carry me the rest of the way. To the Naval Hospital. Where I could receive care from the emergency room. So that's Casablanca. Is the name of this road. And this is the black and whiteness of our dining room. And I did this. It was around about Christmas time. In 2014. It was the year before my mother passed away. And it's amazing how all of us. You know, nine people used to fit around this table. I don't see how we did that. But, you know, I guess love is magic. You know? And I wanted to capture it.

As it was when my mother was alive. And we were here getting ready to have a Christmas dinner. And I wanted to capture it. And this is my mom. Again, my mom did not like me to take pictures of her. And she would stop me. So I had to sneak up on her. And take photos. And I saw her. I was peeking through the door.

Cracking the door at her. And I would say, Ma, you asleep? And she said, no. I'm just resting my eyes. So I called this one. Resting her eyes. So here she is. Thinking that she has a private moment. But she has this stupid kid with the camera. Looking through the door at her. Okay. And that's it. Thank you, Vernetta. You're welcome. Those are beautiful. Beautiful images.

Thank you. Very heartfelt images, obviously. Yeah. It's amazing what you can do when you got to sneak. You know. Well, I think we're kind of wrapping up the time frame here, aren't we, Colin? Yeah. It looks like we're just about at the hour and a half mark. So I think what we'll do is probably bring the recording to a close. And then anyone that wants to stick around for the after party slash advisory board meeting is welcome to. I'm going to have to cut it rather short for myself because I have an eight-year-old who still needs to be fed and showered and some other personal things to attend to. But...

Yeah. And also at the after. Party, generally speaking, we pick a topic for the next salon, which will be two weeks from now. And Vernetta and I, I believe, also have something to discuss with the group. So thanks to all the presenters. It was a really great session and a huge variety of work. So thank you all. And, you know, I encourage you to all come back next time. And, you know, if you're in touch with any of the other artists through the group chat or anything else, I'd love to have you all on the show. And I'm sure you'll be able to get in touch with anyone else. You know, let's try to bring in as many people into the fold as possible. It's good to see some faces I haven't seen for a while. Patrick, definitely welcome back. And Sahar, glad you could log on from Iran. That's awesome.

And, yeah. So I am going to stop the recording in three, two... Oh, wait a second. Actually, Michael, you might have to stop the recording because I made you host and it just said... Oh. Permission needed from host. Yeah, I threw you the host in case you want to keep the doors open. All right. So three, two, one.