Instagram post of the latest plywood painting I finished. It’s 24 x 24 inches, acrylic on plywood. I snapped the original image as I walked past the entrance to a parking garage in Chicago.
I’m fascinated by the entrances to parking decks and garages for a couple of reasons. One, I find them to be architecturally fascinating spaces. The lines and geometry are often great from a compositional standpoint. Creating black and white art that strips these spaces down to core composition is a means of highlighting what I perceive to be the inherent beauty of these spaces that are often considered a functional blight on city centers.
Secondarily, I find these places to be interesting liminal spaces. They are intended to be navigated in a car, but humans have to move through them, though they are in many ways hostile. It’s this necessary but indeterminate space. I think this is similar to my fascination with airports. These are not the destination, merely some third space one has to navigate to get to where you intend to go. As such, they tend to be overlooked, perhaps why I’ve begun paying attention to them.
Below is the process from original photograph to finished painting.
The images as cropped and adjusted for Instagram. My working method with all of the pieces I’ve made from this series have started as photos I’ve posted to Instagram. It serves as the starting point, test bed, etc. for images that I want to work with.
This has become a predominantly digital process. Quick photo with my iPhone, processing via Instagram, then sketching out the composition in Procreate on my iPad Pro.
Process video of my work in Procreate. This highlights the decisions points and compositional decisions I made while resolving the sketch. The biggest choices were the elimination of the gate arm, and deciding to paint in the ceiling. Though the composition is heavily guided by the typically harsh shadows of these environments, I’m clearly not working to slavishly recreate every aspect of the image. Much of this process is about reduction.
The prepared board. I’ve bought standard 1/2 inch thick, precut, 24 x 24 inch plywood boards. They are then prepped with a coat or two of black gesso, and then a coat of white acrylic. I use a dark undercoat because I want the white in the image to have a sense of depth.
The analog portion of the process really begins. After resolving the composition in Procreate, I print it out, roughly 4 inches square, then use an art projector to transfer it to the board. The board has been completely covered in masking tape.
Back acrylic applied. Unlike my previous work on canvas where I used a brush to fill in the white areas as a contrast to stenciled black acrylic, I’ve been using foam brushes for both the white and black layers with these pieces for a more uniform appearance.
The last touch, adding in the red. This has been a new direction for me, highlighting small pops of color in these pieces. The working title of the series has been “Warning Signs,” as all of these spaces are adorned with markings of some type warning the pedestrian, or driver, of what they are or are not allowed to do. Or in the case of this space, guiding the driver through these curved ramps. All the same, they act as a warning indicator. Bringing these bright spots back into the composition is a way to highlight the quasi hostile but still functional nature of these spaces.