LETTERS From CAMP Rehoboth |
ART Around |
by Lee Wayne Mills |
Editor's note: After analyzing and jurying other artists' work for much of his career (including here in the pages of Letters), we convinced Lee to tell us about his own work these days. Like the critic he is, he made certain to include an objective look at one of his own pieces, critiqued by an artist friend. The resulting column is an inside look at this artist as he creates his collage art. Thanks, Lee!
My own exhibitionPutting It Togetherhangs in the Blue Moon Restaurant through October 31. The title of the show reflects my continuing interest in the process that produces these pieces and my specific focus on the collage technique as a way to recycle my own marks and materialsgestures and strokes of paint, ink and resist; cut and torn pieces of paper; strips of cloth; and interwoven shapesall of which are pulled from earlier pieces I created. Sometimes, as in Day's End, a much earlier work (1988) catches my attention in its entirety making me want to do something else with it. So I draw on it a bit more to intensify the pastel areas. In direct response to that, I think I need stronger shapes in silhouette and so make another pass over the surface with darker ink. Very much seduced presently with the use of gold leaf, I collage a few discreet bits onto the surface and arrive at a point which seems "finished." The fact is, I have been known to take works out of their frames and start the whole process over again. Likewise, what may have seemed a very satisfying work of art has often been dismantled "for parts"because another work in progress was begging for this shape or that texture or gesture... Having been sold, I guess Day's End is finally safe from my meddlesome activity. Not so for the others! I will be always "putting it together." A three part series in the show is titled Phoenix and it does rise from its own ashes. A big bold mark was excised several years ago for use on another work leaving me with this very curious and interesting but otherwise eviscerated piece of paper. The gestures on the surface suggested to me a directional and intensifying kind of rhythm. I tore the paper in three pieces isolating individual gestures and then I took more of the original and superimposed it onto the surface as collage elementsbut stealthy onesbecause they behave like camouflage. Even when you see them they are not there, sort of. Blocks of blackened paper were torn into geometric shapes and collaged onto the surface. They lent gravity and a sonic quality to all the dancing parts. Finally, the gold leaf bits (it's just a phase I'm in)incrementally and directionally placed on all three piecesbrought an end to this particular process. Phoenix-like these three works rose from their own ashes. Individually they work very well but I think collectively that they work even better. I can never be sure though. I doubt that I could do a very comprehensive critique of my own show since I am much too close to the work and, having produced it, see something about every stage of its development including any images now framed in the show. A thoughtful friend critiqued her favorite piece in the showHenlopen Moon. She was very sensitive to it, but ultimately found it lacking because of my literal inclusion ofyou guessed ita white gold leaf moon collaged onto its surface. For her, its hard-edged "obvious-ness" negated the nuance and subtle layering of collage she found throughout the work. She made a convincing argument. I know I glued that moon there in response to a problem I caused myself. But now I'm wondering...which is why, forever and always, I will be putting it together. Lee Mills, a Rehoboth artist who has exhibited in both local and regional galleries, is currently Gallery Associate at the Rehoboth Art League. |
LETTERS From CAMP Rehoboth, Vol. 12, No. 14, October 18, 2002. |