All from photos I’ve taken, except a couple frames from Wang Kar Wai’s In the Mood For Love and 2046, and a photograph of Patti Smith’s shirt.
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All from photos I’ve taken, except a couple frames from Wang Kar Wai’s In the Mood For Love and 2046, and a photograph of Patti Smith’s shirt.
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Dear Ming:
Even subtler, I think, than Round 1. More discipline and design consciousness in the handling of forms, especially in the prevelance of parallelism. The top of number 1, for example, and the sides of number 4, and elsewhere. A hard treatment of color and form, similar to Round 1, that makes these pieces trenchant, powerful, amplified by the increased contol of overall design.
Sly Sonata
Dear Ming:
I also admire the tight control of form in these pieces. More than in Round 1, the Round 2 collages show an exellent massing and play of shapes, similar shapes supporting each other, sets of similar shapes contrasting with one another. In number 3, for example, the circular swirl of free forms around the central figure play off strongly against the parallel background. Which is a background: a pronounced distinction of depth is apparent between fore and backgrounds. Better each time.
The Baying Hound of Chamber Music
Dear Ming:
Which parts of these pieces are collaged; which painted? In Etch-A-Sketch (#4), for example, it looks as if the downward red extensions of the Etch box are painted. And also the looping at either side, as if to represent hands holding the box? Etc.
These pieces are surreal amalgams of the real and the not, of paint and collage. The degree of calculation and analysis in these pieces is hard to discern, especially in these reproductions, but the careful planning and subtle coordination of effects becomes more astonishing with renewed looking. A lot of minute study is needed here to fully comprehend what is going on.
Calligraphy Coot