Friday, December 22, 2006

Airport Journal No. 3

Dec. 22, 2006

I'm in the thick of it now.

There's something very meditative about repeating a set of actions. I'm aware of myself and what I'm doing for a while and then, somehow, I'm not. I love this feeling.

What I've tried to do with this work is return to a superstructure and allow myself to improvise within each section of that. It's not a new idea but I will make it my own. Each block is an individual. Remember that and I should be alright.


Airport Journal No. 2

Dec 4 2006

I talked with Andee today. The space is enormous. Two 20 foot walls are separated by a walkway 125 feet wide. She will send jpegs this week or next. Call to follow up.

Big update:

The two paintings will now hang on the opposing walls, separated by the walkway. Each will be connected by continuous line images spanning the entire width of the space.

Andee recommended talking with Brian Bostic in BG. He suggested using solid core electrical wire for the images. It can be purchased in bulk.

Follow up: Brian is a great guy. He suggested solid core electrical wire.


Airport Journal No. 1

Monday November 27th, 2006

After more than a month of preparation, I'm ready to actually begin painting. The construction, took longer due to the cold weather but the real delay has been in finalizing the composition.

As in the accepted proposal, two 4 x 5' paintings are hanging side by side in landscape orientation. Each is filled with vertical bands of color, representing people passing through the airport. The left painting is titled "Departures" and the right, "Arrivals".

The real joy has been incorporating golden proportions of 1 : 1.618 throughout the composition. Most obviously, the canvas area is segmented into 576 golden rectangles 2.5" wide by 4" tall. Each rectangle will in turn, house a representation of one person either painted in silhouette, carved in line relief or abstracted into an organic shape. Various golden rectangles may also be grouped into families of larger golden rectangles, most commonly 4 (2x2) at 5 x 8" or 9 (3x3) at 7.5 x 12". [Not incidentally, the two canvases would make one giant golden rectangle if placed one on top of the other at 5 x 8'.] Superimposed over the entire 10 foot span will be an arch of white rectangles ascending the first canvas and descending the second, giving the work it's title, distance-value and multiple meanings.

The composition's underlying foundation is a reminder that airports are filled with real people with real stories. Structure and organization insure safe, dependable travel but human beings give an airport it's vitality and worth. The golden proportions, arch (also pyramid and sine wave) reference divine intervention, the sun's journey across the sky in a solar year and spiritual themes of resonance and rebirth.

The space between the hanging finished work will be critical as it represents the time people are suspended in the air during travel (between terminals). My thinking is this should be close to 2 1/2, 5 or 10 inches to preserve the golden proportions as closely as possible.

On a personal note, I've experienced more random acts of kindness in airports than anywhere else. Is it the expectation of adventure, the mutual bond of fear in uncertainty or the exclusivity of traveling by air and seeing the world from a fresh perspective? I don't know but I'm happy to be part of it.

Now, I put the brush to canvas. The rest is color and texture. I have one month to finish.