Another round of artistic distillation; curating my artworks for submission.
I started off with d4 as a template. Six artworks are required. While d4 works, perhaps I can bring in a few newer artworks, i.e. m12.
One slight hiccup is that the artworks in m12 haven’t been scanned yet (they need another day to dry?)… so back to the old-fashioned method… look at the physical pieces… scan in a few of the more promising ones (eeks, they really aren’t fully dry, so need to be extra careful)… bring them into the template… scale… translate… shuffle things around… take an artwork out… rince… repeat…
The net result of all this is a distillation of six artworks, comprising:
- Two of the seven that were in d4 are kept: m3p20 and m8p23. The others five were discarded.
- Four from m12 added: m12p9, m12p25, m12p52, and m12p71.
Interesting to note that m12p71 is greatly zoomed in. This is very much part of the curation aspect. Not just only the image, but which part of the image. It defiantly brings a new aspect to it. I am tempted to — at a later date — take a far higher resolution scan and zoom in far further just to see what that would look like. I suspect that some captures that I’ve dismissed because at a macro level they don’t have the quality I’m looking for, might have it hidden away at the micro level… just needs searching for and bringing out.
With a couple of favorites and a few new ones, I am very much in two minds about this, and this is more to do with taking a first critical look at m12 (over and above the observations I made when I was making them). The purple and blue, when it works, works well… the purple is perhaps too saturated on occasion, unlike the blue which is more transparent and has a different curing factor… the purple and red seems to work better, but I don’t have too many artworks with that combination (as this pairing only came about as I was transitioning color pairs).
Midnight is approaching… time to wrap this up… generate the final images… write a cover note… submit… now the agonizing wait to see how they’re received.comments powered by Disqus