The totally unusual combination of materials I have had at my disposal since 2014, namely rolls of colourful and contrasting high grade vinyls and a pile of plexiglass, has been keeping me pretty occupied.
Hence no fresh articles.
This mix of materials is almost completely impossible to work with. At first hand, the results may seem very direct, yet the pre-work demands most of the time and attention. As described in an earlier article, the process has been all uphill, full of restrictions. The vinyls, manufactured by leading brands such as 3M, Avery and Oracle, are absolutely unforgiving in their use: make one mistake, and whatever piece is being worked on becomes an immediate reject. They are commonly reserved for advanced graphics, car wrapping and pimping yachts, to name a few of their countless applications. They are meant to endure, and that is what they do.
I have often had to put a piece that went wrong out on the street at night, only to find that it would be gone the following morning. Once I saw one of them through the shop window of a hairdresser’s down the road. The finder, the owner, really liked it in spite of its condition. So be it. The use of the vinyls is not exactly intended for the purpose of producing fine art. Because of their excellent adhesive qualities they do not allow any margins for adjustments or errors to be made without ruining the material.
When painting with oils, one orders new canvases ready for instant use just like that. With the vinyls it is not the case. Everything has to be assembled from scratch. With oil paints, there are endless possibilities to achieve an end result: with the vinyls, only one. So a lot of sketching and forethought is involved to get the essentials straight before executing the final image. To achieve this, a fully worked-out design is taken apart in positives and negatives, and then reassembled with vinyl cut-outs on a plexiglass support. Excess details are largely omitted for practical reasons.
Characteristics of the high-tech glue that bonds the vinyls to their supports are absolute invisibility and split second effect. The longer the layers gel and interact, the more permanent the adhesion. They are resistant to all outdoor weather conditions anywhere across the globe.
In spite of any flaws, I get along with the outcomes so far. Lately, I have managed to work my way back to a more figurative and females-only imagery as opposed to my initial trials based on the ‘Water’ series. The more recent results are a follow-up of the ‘Undressed’ series. I still have a sufficient amount of materials to get me through the year. The sizes will remain intimate throughout the rest of the series. Loads of fun!
The image is titled ‘Donna V’, 60 x 70 cm, vinyls on plexiglass,