Symmetrical and Sequential Images

Leonarcb,Vol. 2, pp. 167-169. Pergamon Press 1969. Printed in GreatBritain SYMMETRICAL AND SEQUENTIAL IMAGES James W. Davis* In the paintings, drawings and sculptures I have recently made, I have used both a deliberateand an unplanned selection of imagesfused with form and color. My concern for a fusion of dichotomieshas also exttndkd to multiples of graphic images and pure geametrical of simplified organic colorshapes . I havefound twomethodsof transferringprinted images suitable for my purposes. The polymer method which involves:(1) selection of appropriate images from magazine advertisements or illustrations (must be clay base paper); (2) brushing three layersof polymer medium (matte finish)directlyon the image to be transferred to canvas or paper, allowingeachcoatto dry; (3)applyingonefinalfilm of mediumandpressingthecut-outimagefacedown on the painting or drawing surface;(4) allowingthe *Artist teaching at the Art Department, University of Arkansas, Fayetteville, Arkansas, 72701, U.S.A. (Received 8 July 1968.) finalcoat to dry at least 4 hours and (5) gentlyrubbing the paper backing from the image with a wet sponge. The transparent base transfer method, which I have more extensively used, requires: (1) selection of appropriate images from magazines; (2) taping of imagefacedownondrawingpaper(smoothpaper isbestifaneven,untexturedreproductionisdesired); (3) application of silk-screen transparent base medium onback of magazinepage; (4) rubbingwith finger tips for about 1 minute in order to allow penetration through magazine paper; (5) rubbing with a dulled pencil and (6) removing the taped magazinepage (cf. Fig. 1). I feel there is a relevance in my awarenessof the relative similarities and differences between the transfer techniquesand the symmetricalgrid that I generally fvst place on a picture. The transferred imagesaregraphicand of high precisionbefore they areappliedbut they aregraduallyalteredduringthe working process. These images are reversed, often Fig. 1. ‘FigureSequence ZV’,ink,graphite, transparentbase transfer,acrylic, 18 x 24 i n . , 1967. 167 168 James W. Davis Fig. 2. ‘GridSequence 23’, oil on canvas, 43 x 38 in., 1968. rendered painterly and placed within the new context of the art object. In my two-dimensional works I have tended to direct my attention away from a total involvement with formal or systematic possibilities by remaining aware of possible changes during the development of each work (cf. Fig. 2). There are assymetries and painterly qualities on thesurface of my sculpturalworks (cf. Fig. 3). In this manner I have attempted to dissolve the distinctions between the two- and three-dimensional. The visualresults Ihave obtained have often been influencedby images which allowedfor a development of clarity of expression as well as of a painterly attitude. The sequential striations of laminated plywood (cf. Fig. 3) or the sharp edgesobtained with a nylontip pen (cf. Fig. 1) exemplifytwo basic characteristics of the media that Ihave chosen to use. Self-discovery through choices and eliminations of images have become for me the primary initiator of a synthesis although a knowledge of the characteristicsof media has contributed to the completed statement of a picture or a sculpture. Sequence or repetition, when functioning in a developed work, can result from the fusion or isolation of forms (cf. Figs. I and 2). A geometrical grid or a figurativesequenceoperatein an associative manner in which images and shapes are individualized as well as adapted into the statement through the choice, placement and rendering of each. The subject matter and the manner in which it has been pictorially placed co-exist within a format of symmetrical and sequential forms. The processes of developing a work have led to a dialogue between myself and my work. The form of this dialogue has ranged from a level of aggressive battle to polite conversation. My concern for symmetry (cf. Figs. 1, 2 and 3) cannot be justified on the basis of any systematic approach but, rather, as a concern for the relations between forms. The variation of line direction in Fig. 1 and the location and scale of images in Fig. 2 werenot intended to describean isolated or occupied area alone, but to be related to other areas as well. A visual relationship between organic and rectilinear forms has been one consequence. I would like to make it clear that I do not intend the statements I have made here to substitute for the solution I have found for a particular painting, sculpture...