Tag: cinefiled

Two Dances

I am still in the midst of working on my Cinefield® and editing my novel. I have managed to work on my paintings, albeit in a very different way. As I do not have space on my painting table, I use my writing table. Since I can not have this taken over by paint palettes, I did one small thing which involved mixing only one color at a time (i.e base coat for hair, background et al) This way when I was done with the session, I could set the painting aside and not be unable to use my table. Most importantly, I was not wasting paint either.

In creating my Cinefield® works, butcher paper is rolled out onto my painting table to protect it from the glue. Every few days I have to change the paper as snow drifts of dried glue accumulate. On the days that I did this, before laying down more paper I took the morning off from Cini work and did the parts for the paintings where I had to have full palettes of paint (the skin, creating volume and mass for the flesh).

It has always been important to me to have a discernable style while avoiding lapsing into mere mannerisms. To prevent this, I present myself with challenges to keep things fresh.

Neck is 5×8 White Canson Paper. It handles very different from all the papers I have been using for a while and is also a different size. I enjoyed the challenge and was pleased with the results.

Flapper I used my ever present Talen Art Creations Multi Media pocket Pad 4×4 inches

by Wayne Wolfson

Night Tides (for Craig “Doodlebug” Irving)

Finally finished my latest Cinefield®. For each one, my ambition is to make it better than the last in some way. In this case, it is my most rhythmically complex.

I seek to engage the viewer via creating works which offer new things to be noticed with every view. Ideally, I inspire (and maybe even awe) but if I only offer a momentary respite from the unpleasant aspects of daily life, then it’s all well worth it.

Aside from the labor intensive aspect of each Cinefield®, other information:

Each piece is comprised of one or two photos which I personally took. There is no digital magic, I use the old school method of my trusty tiny scissors and adhesive applied with brush on an 11×17 inch piece of heavy paper.

I always see the design in my head ahead of time. However, what piece is put where is in the moment improvised. I do a basic schematic on the paper the fine details reside within my inner eye. I also put a phrase which ultimately becomes hidden by the mosaic. The inspiration for this was the beautiful movie The Phantom Thread in which a master tailor did similar thing with his couture. There is such a call for meticulous detail in what I do and it’s so painstakingly executed that I have always likened it to the little old man making amazing shoes on Saville Row type of thing so these two things inspired me.

I cut up the photos into tiny, tiny pieces and they are carefully lain out on sheets. I look at the sheets as I work selecting what goes where in that moment. Do not ask me how i know, I just feel it, each selected piece seems right for where it is placed. The entire thing is very labor intensive, i see tiny paper snow flurries in my dreams often when halfway through a piece.

The work is copywritten and not for use without permission.

by Wayne Wolfson

Ma Joie

Still deep into working on my latest Cinefield®. Locked into a groove, my studio has been overrun by sheets of paper upon which rests tiny confetti like pieces of paper.

In the interim, I continue to draw every night. I have mainly been using my trusty Talen Art Creations Multi Media pocket Pad 4×4 inches while also finishing the other pads in varying states of completion I have on my desk.

Here are some of what I have been doing, the joy for me serving the process even if only with a pencil nubbin on a scrap piece of paper:

In case you missed it I got a nice showcase which goes into my modus operandi:

GUEST ARTIST: “Truth Is Beauty” by Wayne Wolfson
by Wayne Wolfson

Northern Symphony

Finally finished my latest CINEFIELD®. Although it felt as if it took forever, I am very pleased and proud of the results.

The entire piece is from a single photo which I personally took and then printed up many times. I used my trusty pair of (tiny) scissors to cut out the pieces and then glued them to 11×17 piece of paper using adhesive and small brush.

My goal was to offer up a work that one could go back to many times and notice a new thing each time. I always have the design in mind beforehand but which piece I use where is completely discovered in the moment. I cut out sheets of tiny shapes which are arranged on a table by what will become the work. In this way you can look at all my complex CINEFIELD® as completely improvised.

(I’m the Charlie Parker of collage)

Northern Symphony 11×17 (C) Wayne Wolfson. Not for use without permission

Addendum: I used to live in a city that often had weekend “art walks” or art & wine block party type things. There would be kiosks for photographers etc who had “art” but each thing was reproduced hundreds of times and in various sizes. There is nothing wrong with this so long as you realize it is less buying art and far more in line with buying a postcard/poster/print.

I have CINEFIELD® prints available but each print is only done twice and one of the two is for my own archive. My site goes into all technical details. I have gotten emails asking what is available as the site currently only lists a few as available. If there is a Cini you are interested in get in touch with me, it could be that I just had not had prints made yet.

by Wayne Wolfson

Pocket Pad

Just back from a trip where I successfully was able to take photos to use as Cinefield® fuel (materials). As is always the case, this is going to be labor intensive.

While on the road I used my new pocket pad. As I work on new Cini this will continue be main outlet for visual work too.

The pad is 4×4 inches and we are already fast friends. Back in my American studio, I finish me coffee put on some Miles and get to it.

Always looking for people to draw. Email me for details.

by Wayne Wolfson

Lyra

I am well underway with work on my latest Cinefield®. When I first finish a piece, I definitely need to take a break as I reach the point of seeing tiny pieces of cut out paper in my sleep. After a certain amount of time, my batteries recharged, I feel ready to do another.

Upon the start of a piece I am immediately reminded of how labor intensive the work is, and how much space it takes up.

I can’t do paintings at same time as a Cinefield®. The Lyra medium allows me to keep up my painting chops but takes up no more space than my nightly drawing woodshedding.

Getting the painterly (although monochrome) effects with Lyra sticks makes it “easier” to achieve when using my regular paints.

I do view this medium with equal seriousness and enthusiasm as painting. Never a second class citizen, here are some quick pieces while I work on current project.

Always looking for interesting things to draw, email me if you think you have something which might be of interest. Worst case scenario, I politely pass.

by Wayne Wolfson

Cinefield® Miles

For all my work, I’ve always had two main goals. To develop a discernable voice and to create works which in some manner effect the viewer. The first was achieved via lots of sweat and singular concentration, while the second will be a life-long mission.

The problem with having a recognizable voice is that one can either unintentionally or out of laziness lapse into mere mannerisms. This is to be avoided at all costs. It is the motivation behind my constantly leaving my comfort zone and trying new things.

For Miles I sought to make it different than what had come previous. It can still be recognized as a sibling of the predecessors as the medium does to some extent effect the voice. The mission for this one was that I wanted the viewer to be able to go back multiple times and find new little moments occurring within to notice.

As is always the case with these works, I only use photos which I personally took. For this piece, I was fortunate to find an area which was trying to entice night people with entire buildings being lit up in purples and pinks. These colors being new to my Cini palette were a great way to further the newness I was trying to achieve. I would combine an overall different color palette with an increased rhythmic complexity.

There is no digital magic, I used my trusty scissors to cut out tiny pieces and a brush for adhesive. The piece is 11×17 inches.

I always have a sort of soundtrack when I do Cinefield® pieces. I do not merely listen to same albums over and over, the soundtrack is what i start out with and as the day goes on other things are put on. They serve as an initial mood setter. This piece’s soundtrack:

Miles Davis Big fun

The Soft Pink Truth Is It going to Get Any deeper Than This

Bennie Maupin & Adam Rudolph Symphonic Tone Poem For Brother Yusef

Mozart (Rene Jacobs conducting) La Clemenza di Tito

(C) 2024 Wayne Wolfson not for use without permission

by Wayne Wolfson

Cinefield® Menage A T

There’s an old adage that money makes money. This saying is still parroted today but the meaning is mostly no longer known. If you are in sales and have a specific number which must be reached within a certain time frame, if lucky enough to reach it well ahead of schedule then most likely you will find yourself well over the number by the deadline.

Why? Because you are now relaxed, goal met. Time left on the clock, you can continue to sell with a casual mien which puts others at ease and prevents motives from being scrutinized.

Essentially, this is the power of wiggle room. Anytime you find yourself with no pressures of time frame or other matters of control, it facilitates a kind of ease in which things can get done.

Of course there’s many types of wiggle room, it’s far from restricted to a sales thing.

Currently, I find myself with wiggle room of no expectations of gallerists or other decision makers. This leaves me free to explore and stretch myself which suits me as I never want my work to become mere mannerisms.

I shake things up with what and how I create while I can. It’s a way to facilitate evolution too.

Most of my CINEFIELD® work is 11×17 inches. My last two I kept the size the same but set out with different goals for both, sort of challenges to myself. Wiggle room, wiggle room, I decided to keep the challenge method going.

For this one, I decided to go much smaller 6×8 inches. Although I prefer a certain amount of density compositionally, I would eschew that too. I also decided to make this one more overtly narrative. Luminescent elements so much a large part of other pieces would be dropped down to a smattering in favor of a more limited, muted palette.

I was pleased with the results. This piece is very different from its siblings. As is always the case, the images used are all from photos which I personally took. I used no digital magic, only the traditional method of scissors and adhesive applied with a small brush.

by Wayne Wolfson

Blinky

There was a slight gap of time between my Cinefields® . As much as I enjoy them, they are very time consuming and when in the process of creating them, they dominate my studio space.

For what would be the last one before returning to Europe, I wanted to stretch myself. I only used two photos which I knew would limit the color palette.

Not necessarily apparent, this is my most rhythmically complex piece. I wanted to present flowers of light. Vast unfurling urban fields for people to look at and do their own journeys.

As is always the case, I only used photos which I personally took. There is no digital magic, I used the traditional method of scissors and adhesive applied with a brush.

Blinky 11×14 (The photos do not give the sense of it, but each piece is tiny!)

Errata: There has been much talk of artificially created art. This, along with fact generation Instagram does not feel taking work they find online for their own content/page a crime, makes copywriting one’s work more important than ever. However, most gallerists, agents and collectors I talk to all feel to emblazon a work w/ copyright notice is mark of amateur. It also ruins the work. If someone wants to “borrow” your work, they are just going to crop the notice off or sometimes not even that. Then why copyright? Because it gives you quick recourse for when you do find someone using your work. I am not blasé about my work being taken, of course it’s upsetting but that notice is no deterrent. It will make whomever react quicker when you come across your work out there somewhere. It’s worth paying the fee, filling out the forms.

by Wayne Wolfson