Our creative director has been at the forefront of a movement to establish digital prints as a legitimate form of art print. Granted, the process of creating digital prints is seldom as messy as
creating lithographs, serigraphs or etchings, but that merely implies that the process is fully focused on
the esthetic considerations, unimpeded by material concerns.
BWV 578 Little Fugue in G minor
BWV 582 Passacaglia in C minor
Perhaps more important is the integration of digital prints in works designated multimedia (sometimes called collage). Picasso, Gris and Duchamp executed works from found objects. Today’s assembler has the option to create the scraps he chooses. This is the case with the ten multimedia pieces shown here.
Created from paper scrap, acrylic paint and intentionally composed scrap, all assembled on masonite panels.
Like the product of the 1980s DJ, the core of each composition is itself a digital montage of both borrowed and imagined images forced to various levels of the surface at the will of the digital manipulator and begging, ever more stridently, “Where does reality begin and end?”
BWV 542 Fantasia & Fugue in G minor
BWV 1065 Concerto for Four Harpsichords
BWV 540 Toccata & Fugue in F
BWV 578 Gigue in G minor
Each panel is 18” x 24” and constructed to bleed the panel. Each panel is considered original for although the center element is conceivably repeatable, the “outer matte” is created with traditional techniques.
It should surprise no one that the theme of the group is Bach Made Visible.
BWV 564 Toccata
& Adagio in C
BWV 577 Gigue in C
BWV 565 Toccata & Fugue in D
BWV 1004 Chaconne in D minor