I’ve made work in the past that made use of both photo-phosphorescent paint (below) and fluorescent paint. The series below was part of a body of daily “drawings” that I did for a period of months in the middle of 2020. Obviously, this was a pre-cursor to seeing the cubes as proxies for brushstrokes as well; there was also a fun element of chance in these in that the patterns of light absorption from shading, and impact of incorporating matte black cubes couldn’t be entirely known as I waited for the cubes to “charge up.”
I’ve recently returned to the idea of making daily drawings, since I’ve pretty much wrapped making studies and moved on to making new work. I think my practice benefits from having elements that are purely experimental; this time around though, I’m aiming towards using the daily drawings to generate compositions that can become finished pieces under glass (no reason to use up a bunch of glass or plexi, plus editing is a form of choice and intuition just as much as the automatic drawing I’ll leverage to generate them).
I’m using fluorescent paint (which appears quite different under black light) instead of photo-phosphorescent paint with this series as well. I included some initial images in my last update and there are some working photos below.
I’ve also been thinking about the piece below, an older work on paper from (?) 2020 (a friend bought the final version and I neglected to take any photos). Usually, I make choices about which tone to assign to the “face” of any particular cube with a simple pattern- there are always 3 tones, and no tone may touch itself. Clearly that’s not the case below, as this piece was an experiment in incorporating a realistic light source. Since these new pieces will be about a source of light, I thought the duality of implying there is a light source makes more sense.
Painting After Art is Dead 