Tag: City of Light

CINEFIELD® Carousing

Often when you read a biography on artists, in any medium, I have noticed a commonality. There seems to be a career sweet spot. This is when they have established their voice, have an audience and can comfortably exist while serving the process. They are not necessarily as big as they will become.

What makes this the sweet spot is the ability to still 100% follow one’s own North Star. No consideration is given towards audience nor critic expectations. New directions can be taken, old ones dropped.

The tragedy of all of this is that this phase is often recognized by the artist only well after the fact.

I am lucky to recognize that I am in the sweet spot. With no forced upon restrictions nor expectations, I experiment. Even when it is a direction I decide not to go in, this freedom fosters evolution.

My last Cinefield®, I wanted to make more rhythmic than previous ones. With this one, I wanted a greater density. I went with a more limited color palette as to make it more noticeable. I tried several new things with this piece which will now just be part of my regular process.

With all my Cinefield® works, I only use photos which I personally took. Another different thing for this one, I only used two photos (in general with these works I don’t use too many, but this is even less). The piece is 11×17 inches. No digital magic just scissors and adhesive applied with a tiny brush.

Errata: copyright. People, especially with visual work, prominently display copyright notices. Definitely copyright your work, before you post it anywhere, before you submit it anywhere. However, the watermarks and notices are a distraction and according to many gallerists and editors I have spoken with, the mark of an amateur. To have the notice on edge of paper, it can be clipped off. To have giant watermark, your are wrecking effect of your piece.

Some might complain that to copyright everything one puts out can be cost prohibitive. With drawings, things where an artists hand is so blatantly present, it is not necessary. As for the rest, it actually makes an artist assess their work better. No one hits a bullseye each and every time. If you are considering copyrighting a work w/its accompanying fee, you have to be more honest with yourself.

Copyright is not a forcefield which will prevent people from lifting an image you created. It gives you a quick recourse to take back what is yours. Generation Instagram feels that if it is online and they like it, it’s a victimless crime to use it as content. Copyright allows you to get it back quicker or really drop the hammer should someone actually be monetizing one of your creations.

by Wayne Wolfson

Cinefield® – Oohma Polumbo

When I started this Cinefield® I had decided to stretch myself as I had no deadlines. I work no digital magic on my pieces, but the photos I use are of course kept on my computer. Being a little under quarter of the way done with the piece my computer of seven years gave up the ghost.

I wanted to research what best option was for new one as unlike last time i bought one, I had concrete ideas of what I was going to use it for and what I did not need it to do. The research was the first delay. Once I determined what I wanted, it would take about two months for them to make it for me. I cleaned up the paper chad snowdrifts, switched to painting and some of my other visual projects.

As I was not merely sitting on my hands waiting, I did not mind. My third delay, the computer showed up and upon getting it set up, my equally old printer died. The amount of work she had done for me (ships & printers are always referred to in feminine form) made it not so shocking. I had already been looking at new printers anyways. Knowing ahead of time what I wanted and needed made the wait for a new one shorter.

The printer I got is geared towards photo film too. I bought few different types to experiment with while working to finally finish this piece. I was curious if I would be prevented from getting the flush edged fit as happens with my pocket printer mini-cinis. That film is akin to instamatic camera film, this is not, so I am able get the flush fit.

Aside from trying for more diverse color palette a few things made this piece different. The components consists of the paper on the old printer I always used, new printer with different type paper and three types photographic paper also from new printer. It was very different for me too in that I have never put down a Cinefield® for more than a day or so. The extended time away from it was totally new experience for me.

As is always the case, all the images are from photos I personally took. I use my tiny trusty scissors and adhesive applied with glue. The piece is 11×17 inches.

by Wayne Wolfson

What the Eye Sees

Where ever I am, I draw & sketch. Even more so if I do not have time/space to paint. My pencil musings are not all meant to be formal accomplishments ready to frame.

Sometimes they are just personal references to what I am doing or seeing, done in my 3×5 pocket pad.

After years of doing this, I find myself going to some of the same places which are now part of my life. It made it tricky in that, i can only sketch same rooftops etc so many times.

Without any forethought, I found a way to keep it fresh. I now sometimes indirectly record things.

I was in a little bar, the air thick with sausage smoke, that and Parisian sandwiches being their only fare. The owner had two cats which come and go as they please, all the regulars saying hello as they take over empty stools.

He had a penchant for playing Jacques Brel. The bar is located between my place and favorite record store so I found myself stopping in often on my way home. Either to celebrate a new purchase or to console myself for coming back empty handed.

Now when i hear Brel, for half a second I smell the fragrant sausage and regardless of lyrics, feel a mellow warmness.

W.Wolfson Paris ’18

brel

by Wayne Wolfson