View allAll Photos Tagged Inked
.......... bottle. Shot this old Sheaffer's Skrip ink bottle a lot of times before finally cropping down to this one. Tried with no ink. Then with a little ink in the bottom and well but it looked like a, well, an ink blob. Then tried this one with just a bit of ink in the well. Seemed to work.
Parker Duofold fountain pen makes a Perfect Match with Parker Quink ink. Taken for Macro Mondays. Macro photograph taken using diffused daylight. Blue pen and blue ink. Black border with white key line.
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Old portable Smith Corona Manuel Typewriter: I bought this typewriter new over 50 years ago when I was in high school. It was purchased from a school & office supply store in Hillsdale, Michigan USA.
In this photo, the ink ribbon has become entangled in the type levers. This close up lets you see the detail on some of the the type bars at the end of the levers.
The manual typewriter was replaced first by the electric typewriter, but then typewriters as a word processor were replaced by computers/laptops/tablets etc..
A photo of the typewriter from which this macro shot was taken can be viewed here.
This work represents an abstract face created by fast and instinctive black ink lines and stains, which form a dynamic and emotional image, enhancing spontaneity without adhering to detailed realism.
It is as though this lady was formed from a splash of ink. Art brings substance to the world.Reflection in a glass awning, NYC.
Acrylic, ink, collage (50 x 50 cm)
The initial spark behind this was the Madonna by Sandro Botticelli which reminded me of something that would have been commissioned by a merchant's or sailors guild. I did not want the specific religious aspect so I removed the Jesus and replaced it with a conch.
I generally don't want my paintings to be tied to a particular meaning or message. I'd rather set up a framework for the various elements to contrast, collide, co-exist and get to know each other inside the painting. Above all, I want to be able to invite the viewer to pick up on clues and intentions and add their own ideas and thoughts to the piece.
I collage (glue) bits of printed paper, photos, gold leaf and illustrations on before, during, and after the painting and drawing gets done. I use the collage as if it was just another thing in my artist's box of tricks.
I knew I wanted this one to have the Madonna as a sort of wandering sea-bride amidst an archipelago of strange and unfamiliar culture. I was also thinking of a favourite painting of mine, 'Landscape with the Fall of Icarus' (c.1555) by (probably not) Pieter Bruegel. From this came the ecstatic and over-ambitious raptor flying towards the sun (in this case the moon) and Icarus and Deadalus falling on the other side.
The moon is painted on top of a catholic devotional text. There are so many meanings attached to Renaissance religious imagery and the paraphernalia associated with catholicism, that including them can be tricky, and give off an over-ecclesiastical odour. It is like salt in chowder... it can give it good flavour or it can ruin it.
I'm not religious anymore but I can't resist the ostentatious and luxuriant trappings, the tortured ecstasy, the gilded signposts to heaven, the power, the glory.
"...Catholicism tells you at a very early age the world is not what you see; that beyond everything you see, and the appearance – or the accidents as they're known – there is another reality, and it is a far more important reality. So it's like running in the imagination." -Hilary Mantel
There's a current running through my work of historical exploration, the age of Columbus, Cook and Cortes. What they saw and what they expected to see when they arrived into a bay or archipelago beyond the known experience, the strangeness of the flora and fauna, the alien systems of worship...and what the soon-to-be-colonised or conquered people felt. I like the mixture of genres in certain Renaissance painting, and the hierarchy of events, and mixing all this up in my paintings, placing modern buildings like the Gherkin in there, so the whole thing doesn't become an homage. Also placing the 'life-goes-on' things like the bird- feeding and plants growing, the cycle of nature, the habitats, the settlements, creating an environment that exists solely inside the painting like an aquarium.
The materials used include ink, acrylic paint, watercolour, gold leaf, found paper, and printed paper. The central plant is a pink flowering tree peony (Paeonia suffruticosa), rising out of a mound of gold leaf and gold ornamentation on printed paper.
The printed papers I use are of Japanese origin, which I source from Carta Pura in Munich www.flickr.com/photos/kasaa/4330976492/ The red, blue, black and white chequer-board and wave and flower patterns come from here.
Some buildings come from Renaissance frescoes, old views of Siena, and current affairs publications. The 'tree' to the right of the 'apple' tree uses part of Kandinsky's 'Cossacks' www.artrepublic.com/prints/9578-cossacks.html , and the red dog by the lake on the right comes from H. Bosch's 'The Conjurer' www.oceansbridge.com/oilpaintings/product/93995/theconjur...
I like both the above artists as their work invites the eye in on a journey around the painting, and what happens around the fringes of the work is often treated with equal importance.
Some of the clouds are from fabric patterns, and the text in the sky comes from early Christian Irish devotionals. The Gaelic script comes from an Irish printed book from the turn of the century from my father's things, and the plant b/w drawings come from an old botany manual.
The cat and the bird inhabiting different parts of the painting are there as competing elements in a food-chain or hierarchy of interests, and to provide an element of tension.
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