It's bigger, it's looser, it got a great reception during the High Line Open Studios Chelsea. It was great to see Tipping Point framed and on a wall with some breathing space.
High Line Open Studios ran last weekend Oct. 18th, 19th and 20th in the Chelsea gallery district of NYC with 50 plus artists opening their studios and project spaces to the public.
My project space is a small subdivision of Ayn Choi's Gallery 304/ASC Projects in the Chelsea Arts Building at 526 W. 26th St. in NYC. In the picture above I've got both sides of that partition wall plus the rest of the alcove I'm standing in to the left.
Directly behind me is an older (c 2004) digital collage Stamp Collector. The space is large enough that I was able to exhibit many of my latest works plus several older pieces that show the transition of my interest in transparency, imagery overlap and layering from digital pigment prints to a more physically robust woodblock technique.
Turn out was fantastic with several hundred visitors each day. Most I was able to introduce to my art for the first time and some contacts via social media I was able to meet in real life for the first time.
Artist George Rodart looking at Moses; another of my earlier digital collages on view. Most of my digital collage pieces were created ten years earlier when Photoshop was a much newer tool for artists. Although I began the process of learning woodblock techniques around the same time, it's only been in the last couple of years that it's become a focal point of my art. Although my concerns with layering of imagery remains the same in woodblock, I have an increased interest with the physicality of the surface of the paper.
The Photobooth Kabuki series received a lot of positive attention; including this one I'm posing with that is included in the North American Print Biennial.