View allAll Photos Tagged fluidart
122 cm x 91 cm
48" x 36"
2010
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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61 cm x 61 cm
24" x 24"
2010
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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99 cm x 91 cm
39" x 36"
2010
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
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183 cm x 122 cm
72" X 48"
2010
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on canvas.
Sold
183 cm x 122 cm
72" x 48"
2009
Urethane and acrylic binders, pigments in dispersal water, dry iridescent pigments and resin on panel.
Sold
YAY YAY for Art Day! Mom and my sister, Tammy came down to do paint pour art with me today! We had a GRAND time! Mom and Tammy made some beautiful works! It was awesome AND messy!
Strobist & DIY info: high-speed photography of colliding water drops. I use a StopShot electronic trigger to control both the drops (via a single electronic valve) and two gelled Canon 580 EX SpeedLite flashes aimed at the background on both sides. Speedlite are used at the lowest power in order to get the smallest flash duration (about 1/30'000sec for the 580 EX) and thus freeze the droplets.
Lyrical abstract painted for the camera with watercolors on a liquid surface that disappeared a second later. My technique is related to the traditional Japanese suminagashi monoprint or floating ink technique, but I use a camera to capture the floating design I create instead of paper.Best viewed LARGE.
Lyrical abstract created for the camera with water soluble dyes on a liquid surface. Best viewed LARGE.
"And still more, later flowers for the bees,
Until they think warm days will never cease,
For summer has o'er-brimm'd their clammy cells."
--- John Keats, 1819
Handmade mixed media (fluid acrylic painting, mosaic, decorative braid etc.) panno on round canvas D=40, 2021
“The human mind is only capable of absorbing a few things at a time. We see what is taking place in front of us in the here and now, and cannot envisage simultaneously a succession of processes, no matter how integrated and complementary. Our faculties of perception are consequently limited even as regards fairly simple phenomena. The fate of a single man can be rich with significance, that of a few hundred less so, but the history of thousands and millions of men does not mean anything at all, in any adequate sense of the word. The symmetriad is a million—a billion, rather—raised to the power of N: it is incomprehensible. We pass through vast halls, each with a capacity of ten Kronecker units, and creep like so many ants clinging to the folds of breathing vaults and craning to watch the flight of soaring girders, opalescent in the glare of searchlights, and elastic domes which criss-cross and balance each other unerringly, the perfection of a moment, since everything here passes and fades. The essence of this architecture is movement synchronized towards a precise objective. We observe a fraction of the process, like hearing the vibration of a single string in an orchestra of supergiants. We know, but cannot grasp, that above and below, beyond the limits of perception or imagination, thousands and millions of simultaneous transformations are at work, interlinked like a musical score by mathematical counterpoint. It has been described as a symphony in geometry, but we lack the ears to hear it.”
--- Stanisław Lem, Solaris