Imagine using translucent fabric as a means for layering and partially obscuring previous marks, instead of paint. What if I’ve been approaching the entire fabric series with a close-mindedness that is hyper focused on the previous success of my Deceptive Clarity series? I want to continue masking and playing with space, but it doesn’t need to be exclusively with paint and it doesn’t have to remain a concrete 2D surface. I moved to vellum on the small scale, but I never continued with vellum because of its size restrictions. The fabric could play with physical space and the painting could creep up and over the fabric playing with the imagined space.
I attempted to facilitate the exact opposite of the Deceptive Clarity series by having the painted image literally floating, suspended in a sea of flat color fabric. The issue with this is that the fabric itself is so pristine and atmospherically flat that it swallows the minuet detail of the painted image. Though the opposite would still seem to involve a pushing back of the image from the surface rather than a floating of the image on the surface. If the fabric itself played with physical space within the piece, instead of simply isolating the image, it would create a stronger disillusion of atmospheric perspective.
When viewing a set of objects obviously solidified in a bond of resin or glue, it communicates a sense of permanence and stagnation. The elements feel un-moving and thus feel grounded and consistent. Whereas objects assembled with loose ties of thread or fabric, communicate a sense of energy; a constant changing ephemeral reality in which objects feel as if they are merely moments away from changing places and becoming something new. This assemblage closely mimics the utter chaos of life and its ever-evolving possibilities. This anxiety of uncertainty. This epic of inconsistency. It feels more alive, less still; leaving room for imaginative potential. A story can either be solidified and finished or it can be left open to speculation.