Like waking up on December 23rd, when you know the Big Day is close: it's the light at the end of a rather long tunnel.
Funny thing is, though, the first metallic assembly is where the biggest changes happen.
It's where the work starts to become what it wants, not exactly what I thought it would be.
The Work has been through 6 previous stages: photos, editing, inks, assemblies, printing and fusing. In the fusing stage, the work displays exciting visual surprises:
double colors,shiny and matt finishes, marbling, veining and pentimentos.
But I expect that.
At the Penultimate stage of metallic assembly, invariably, I end up with Real Surprises.
Gaps. Holes. Overlaps. Extra pieces.
The whole shape of the piece takes on a life of it's own, and decides what it's going to be.
Canyons become mountains and calm seas become storm-tossed oceans.
The work takes on it's own personality, and we artists relate to it like a friend, a parent, or a lover - or occasionally an arch enemy. " It's not doing what it's supposed to do!" is a frequent grumble one hears in open studios.
I -could- control every millimeter of it; from gloss on polished metallics to the micro spaces between joins.
But I don't.
One of the main reasons I use this form of mixed media is that I LOVE being surprised.
Don't you?
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