Cinefield® – Kini (Blue is Cool)

About to head back to Europe shortly. I had previously written about being able to utilize a pocket printer as to be able to do Cinefield® pieces in my Paris studio. As I live right around many great art supply stores i am sure that I will be able to find adhesive. However, I have never been one to leave things to chance. So i have been experimenting with glues which i can bring with me and are not as outright industrial as my adhesive.

The nature of my pocket printer pieces is that they are small, index card sized at most, 4×5. The first one I did, I tried a liquid glue stick of Elmer’s glue. This wasn’t ideal as when it got on the front side of image it caused discoloration. Also it was so liquid-y that there was no way to really control it despite the fact it was in a pen like delivery system.

In an absolute pinch I could have made due. My final attempt was with the glue sticks with which school children work. This took a bit of learning curve as pieces and sometimes entire sections after the fact would pop off making a brief snow flurry of cut pieces upon my table.

I got a handle on how to best utilize the glue stick, although it made everything more labor intensive. The good thing about it is that I can easily pack a glue stick in luggage w/no hassle from TSA.

There is very little chance though, because of the nature of the glue, that pieces I do would last. The photo I take of the finished piece will be the work/the art. I can’t fully explain why, but there is a freedom in this.

Of course it may be non issue as I find my preferred adhesive once moved back in.

Like all my Cinefield® work, every image is from photos which I personally took. One can see more edge/line of each piece, that is the nature of using pocket printer. The printed material is akin to business card sized photos, there is the impossibility of seamless edge blending as i often achieve w/my regular paper pieces. this piece is roughly 4×4.

the highly technical schematic of the piece

Limited Edition ‘Sauce

I am currently in the middle of finishing up a labor intensive full sized Cinefield®. My cover for the latest Funki Porcini album Where the Sauce is Deluxe has been as enthusiastically embraced as the album itself. I have received queries about whether the piece or prints of it are available for sale.

I am not ready to part with the original and my initial thought of prints of it made me worry of a loss of intensity, reducing down my work to becoming akin to something one would buy at IKEA et al.

I was presented with the idea of making one print only available to the public. this idea appealed to me as unlike with the current trend of NFTs, here was a work of art one could have and hold. Only doing one copy makes it so that one is not merely buying a slightly pricier, better quality poster.

Of course it would be nice for this piece to find a home but the other part of my motive for this posting is to save anyone with questions about the piece some time.

Here is all the pertinent information:

This piece was used as the album cover by Funki Porcini’s same-named album (2022).

All the images were from photos that I personally took. There was no digital magic/manipulation. I used the traditional technique of scissors & adhesive applied with a brush.

There will only be two prints of this made, one of which will remain uncirculated in my personal archives.

The technical specs are as follows:

– 24×30 inches Printed on Archival semi-matte photo paper 95 lb.

– Cold press mounted and Custom Framed with Museum Glass in a Black Metal Frame

Price: $2,500

Price includes shipping and insurance.

All payments made through Venmo in US Dollars

http://www.waynewolfson.com/works-for-sale

Cinefield® Go,Baby Go

My collage work in a very short amount of time became part of who I am. I lamented the fact that for longer trips/residencies I would not be able to do them. I began to investigate ways to perhaps make it happen.

The easiest thing would be to just use magazines/newspapers from wherever I was. This didn’t appeal to me as I have always prided myself on only using images from photos which I personally took. I researched pocket printers.

My Cinefield® are very time consuming and how to get the images aside, I had already had it in my head that were I able to do them on the road I would go far smaller as it would render a trip pointless were I to spend entire time alone in studio working on a piece. I also have other creative things that I want to do while on the road and the way my normal Cinefield® are made would have eliminated that possibility.

Another practical aspect of going smaller is that all the pocket printers I was finding seemed to utilize types of film. I did not want the raw materials to become cost prohibitive in constructing them.

For obvious reasons it was important that the photos not be laminated which eliminated many of the choices.

I found a device which literally fits in jacket pocket and feels solidly built. It connects to phone via blue-tooth which allows me to use any/all my own photos. The film is not exorbitantly priced although I will stick to my normal paper when not on the road.

My in general goal for doing pieces on road is small in size and utilizing no more than one packet of film per piece. Time wise, no more than two days working on it as this will allow me to also paint, write and absorb wherever I am in the world still.

The small size allows me to also do other things for the hour or so at a time that I am pressing a piece (basically laying heavy books atop it to get rid bubbles).

The film required a completely different touch and technique. In general I have only done several smaller pieces. Surprisingly, they are harder to do than normal size. There is less room to create rhythm/tension & release. What were already small piece often need to be made even smaller.

This is my first piece using the pocket printer. As always, it’s only images from photos which I took utilizing my trusty scissors and adhesive applied via brush.

It is 4×5 inches. surprisingly, it only took seven photos (the photos for pocket printer are about the size of a business card) I did it in two days. I was pleased with result and the fact that I pretty much met all the “rules” I had in mind.

addendum:

The news is bleak. The internet is fertile grounds for scams masquerading as charities or people who want to help. A hero of mine, José Andrés has a charity whose goal is to feed those in need. It eschews any politics for the basic notion that you can change the world by feeding everybody. This charity is not solely concerned with the Ukraine, although they are boots on the ground there now. Over the past few years, wherever there have been natural disasters he and his colleagues could be found trying to help out via feeding those who are hungry for whatever the reason.

I recommend to all to at least take a look at their site as it’s worthwhile.

https://wck.org/

“Cinefield® Go,Baby Go” 4×5 inches

Cinefield® – Where the Sauce is Deluxe

Throughout my oeuvre, emotion is my ultimate goal. I want the viewer to feel something. Music is my main source of inspiration regardless of subject matter or even medium.

I have pretty big ears, never restricting myself to one genre nor era.

Although I lean towards jazz & classical I do have some categorization defying things in heavy rotation too. Things like Kruder & Dorfmeister, Kina Rao and Funki Porcini.

Funki Porcini is an absolute favorite to whom I have listened to for years. His music encapsulates various moods. In lieu of one sonic voice ever present on every album which can lead to a feeling of heard one heard them all, he offers up instead, technique which he uses to great effect to create dense dreamlike works.

My Cinefield® vary, from cityscapes to floral explosions to abstracted colors and shapes. The commonality being their density and dreamlike quality.

I now have the pleasure of one of my Cinefield®  being used as a cover for the forthcoming full length album by Funki Porcini. Both share the same title. As is always the case with my Cinefield®all the images I used were from photos which I personally took. There is no digital magic, just my trusty scissors, I applied adhesive with a brush. One difference in my methodology was in only listening to a specific soundtrack comprised of a pile of albums including the new one and a few other favorite of his as I worked. The piece is 11×14 inches.

I will put up details on where the album is available once its out.

Cinefield® – Where the Sauce is Deluxe 11×14

There is a special multi-night gig associated with this going on:

We will be doing the album launch with the Laserium at commonground in Coventry, four nights 28-31st January.

Tickets HERE

1/29/22 The album is now out and available via all the usual digital platforms (amazon, bandcamp et al) bandcamp link:

https://funkiporcini.bandcamp.com/album/where-the-sauce-is-deluxe

These are not the small trusty scissors but the cut last minute chad ones

              

Cinefield® Tiny Annie Two Trips

After finishing my last Cinefield® I started a painting. Weather conspired against me with heavy fog & rain. As they do not require same light situations, I switched to doing another Cinefield®. I wanted to make this one look painterly, a further evolution of chops & (artistic) mission.

It proved to be a labor intensive piece. At 11×14 it took me longer to do than some of my far larger pieces. As is always the case, I only used images from photos which I personally took, utilizing my trusty scissors and adhesive applied with a brush. There is no digital magic done after the fact. This is a personal favorite of mine, not just within my Cinefield® work but for my entire oeuvre.

This was by no means the smallest size of pieces I dealt with for this work

City Crawl

I am finishing up a section of my novel before i stop to type (while continuing to take notes). It has not allowed me to start another CINEFIELD® nor painting. Of course during the interim I have continued to draw & woodshed.

For a while I had only done cityscapes so that I had a portion of my audience only knew me from that. I took a break from it and then ended up not rejecting it, but getting caught up in everything else that I was doing

I decided to return to it and do another one as it would give me the satisfaction I derive from larger projects without the distraction of having equipment out and in my way as I paced the studio as I write.

As I did this piece, i got just as much enjoyment from it as I ever had. My initial conception was to finish it in colored pencil but I felt there would be a loss of detail. Also I wanted to do something a little different from the other cityscapes I have done.

The piece is 11×14. I just used a basic pencil and finished it with a fine marker.

The Jenny Three

I have always been a city-boy. I can appreciate nature and do not mind being away from the city in (very) short bursts but it’s the places which float upon the concrete that call to me non-stop.

This piece is a sort of ballet of neon. I wanted to capture the sense of rhythmic motion, the undulation of lights which shimmer in near abstraction depending upon from where one is seeing them.

The work is 11×14. There was no digital magic used, merely my trusty scissors on photos which I personally took and adhesive applied with a brush.

addendum: briefly I am accepting models for my “In the Eights” series. Email me for details.

“The Jenny Three” 11×14

A Million Ways to Die

For all my work regardless of medium, emotion is my main goal. One way to ensure this happens is fostering a constant evolution.

I received many great responses to my last collage and it is a personal favorite. For my next one, I knew that I wanted to do something as dense but also different.

I limited my color palette which I have done before but this time i went with darker, more somber colors. There is a return to a more outright sense of narrative in this piece too. The last piece was a beautiful scene but not story. To my core I will always be a city boy and now I have created another one to visit in my daydreams.

As with all my collages, there is no digital magic worked. I utilize the old school method of scissors & adhesive applied w/brush to photos which I personally took. (new camera for photo)

“A Million Ways To Die” 11×14  (the lines visible beneath pieces don’t mean anything , they were resting on piece scrap paper w/discarded sketch)

 

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This Little Piggy

I greatly enjoyed creating my last collage “To the Sea”. I decided to further explore the use of a limited color palette.This piece is a companion piece to my last one in wanting to go by the same “rules”. (limited color palette, utilizing my two main techniques within one piece to equal degrees, smaller sized paper)

As usual I only used photos which I took, my trusty scissors and adhesive applied with a brush. The sort of Maxfield Parish coloring comes from the times of day that I took the photos, all Pre-Raphaelite luminescence playing upon the neighborhood but for a few minutes at a time.

For all my work regardless of medium I prefer a certain amount of density. Especially with my collages, I like the effect of the viewer being able to find new little things with each viewing. An open ended narrative which leads to one’s own personal daydreams.

“This Little Piggy” 11×14

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Two Tales: Vertical intoxication/Elation

I can fully appreciate nature. It offers a different kind of inspiration than that of the man made kind. However, I can only go so long without concrete under my feet and the smears of neon streaking the air like forgotten halos.

When based out of Europe some of my friends teased me about this but for them, coming to visit me was their vacation, so it’s understandable that they wanted to see things as would not be encountered elsewhere. A few hours train ride and you can get your fill of mountains, Forrest or ocean. I enjoy it for a day or two, all of it being bearable as I have my pencil in my pocket along with its accompanying little sketch pad.

Right by one of my Parisian watering holes they put up a plaque a few years ago for Poulenc, who had lived in the building. When all his peers were going to Italy, the warmer climes of the South of France & Brazil, he largely preferred to stay in Paris with the concrete under his feet and the availability of a place to stop for a drink every few feet. Now further inoculated against the good natured teasing I swim through the currents of streets and alleys which I could probably now do blindfolded.

“Ok, have fun in Giverny, I am around just working, drop me a line when you guys get back.”

“It’s going to be hot, you sure you won’t come, we can catch a later train.”

“No thank you, I am just working.”

One can not become a connoisseur of a thing without a component of snobbishness. It is an earned right though and so long as it’s not utilized against anyone else, is permissible. I like all kinds of cities and feel the better ones all have something visually to offer by way of inspiration.   The older ones, aside from their obvious architectural attractions, have their winding streets and the sense of happy ghosts. The newer ones, a vertical frenzy, which  when done right is a poem, when wrong (as is the growing case with San Francisco) a generic sprawling mess of metallic stalagmites.

I tried some new things with both these collages. Both are 12×17. As is always the case, I used no digital magic. My trusty scissors & adhesive applied by brush to photos which I took. Two urban valentines of a favorite city.

 

“Our Story” & “What Do You Need Two Lighters For?”

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