First off, what is it? A series of 27 artworks done on gallery-wrapped canvas.
Why the heading “Caprice”? I’m using the word in the sense of whim/whimsical/whimsy since its final viewing is left open and flexible, and is unknown.
Inspiration: Seeking a way to get the collector/owner more engaged with the art.
Approach: Do a series that can be arranged and hung any which way. There is no hanging wire on the back of the 2” canvas frame and no front signature of the artist to establish orientation.
Process: In December of 2019 I started a series of artworks under the heading “Caprice.” It’s based on an abecedarian platform, partly because I love the word “abecedarian”—the way it rolls off the tongue and the association it conjures. But mostly I selected it to establish a structure.
The English alphabet—the A to Z ditty we sang as children to the same melody as “Twinkle, Twinkle Little Star”—is recognizable as 26 characters. Plus which I added the ampersand [&], which is sometimes done, since I needed a number equally divisible by three.
Rules: The directives I gave myself were to do all in the series in the same size using the same materials and done in an abstract, geometrical, though loose style.
Additionally, sets of three (9 of them) were to be done in tandem—that is all three to be done at the same time and treated as a flexible yet whole unit. “Caprice one” would be A-B-C, “Caprice two” D-E-F and so on, finishing with the ending ampersand to even out my threesomes. The alphabet letters themselves have no meaning, yet remain to indicate where in the process each work is created.
All works in the series are 12 x 16 (or 16 x 12) on gallery-mounted canvas, using a white base—either Gesso or Titanium white acrylic paint. Colors are in a limited range using both acrylic ink and paint. Marks are made with brush, sponge, toothpick or cotton ball.
Where we are today: In the midst of a pandemic! I have only six more canvases to complete the Caprice Series. New canvases just became available and I’m waiting for the curbside pickup notice.
The Vision: Besides offering sets of three to collectors, and obtaining permission to use in future exhibits if required, I would like to see all 27 displayed together.
A total grouping would require a minimum of 36 x 27 feet of space (16 x 12 X 27), unless they’re displayed as a 3-D object, sculpture, or scattered. (The canvas backs only show my signature, year and inventory number.)
I would invite different artists or curators the opportunity to arrange them as their own statement. The variances in possible aesthetics would be marvelous to witness! Of course, I’d like a shot at it too. So, the future invites opportunities for exhibition in large public spaces and like-minded curators or artists to join in to arrange an exhibit.
Meanwhile, collectors with their threesomes are welcome to display them high, low, at an angle, in different rooms or throughout a living space. All is flexible according to one’s personal fancy. Their presence will illuminate many of the art principles artists work with, honing one’s own sense of dynamic visual energies.
Why the heading “Caprice”? I’m using the word in the sense of whim/whimsical/whimsy since its final viewing is left open and flexible, and is unknown.
Inspiration: Seeking a way to get the collector/owner more engaged with the art.
Approach: Do a series that can be arranged and hung any which way. There is no hanging wire on the back of the 2” canvas frame and no front signature of the artist to establish orientation.
Process: In December of 2019 I started a series of artworks under the heading “Caprice.” It’s based on an abecedarian platform, partly because I love the word “abecedarian”—the way it rolls off the tongue and the association it conjures. But mostly I selected it to establish a structure.
The English alphabet—the A to Z ditty we sang as children to the same melody as “Twinkle, Twinkle Little Star”—is recognizable as 26 characters. Plus which I added the ampersand [&], which is sometimes done, since I needed a number equally divisible by three.
Rules: The directives I gave myself were to do all in the series in the same size using the same materials and done in an abstract, geometrical, though loose style.
Additionally, sets of three (9 of them) were to be done in tandem—that is all three to be done at the same time and treated as a flexible yet whole unit. “Caprice one” would be A-B-C, “Caprice two” D-E-F and so on, finishing with the ending ampersand to even out my threesomes. The alphabet letters themselves have no meaning, yet remain to indicate where in the process each work is created.
All works in the series are 12 x 16 (or 16 x 12) on gallery-mounted canvas, using a white base—either Gesso or Titanium white acrylic paint. Colors are in a limited range using both acrylic ink and paint. Marks are made with brush, sponge, toothpick or cotton ball.
Where we are today: In the midst of a pandemic! I have only six more canvases to complete the Caprice Series. New canvases just became available and I’m waiting for the curbside pickup notice.
The Vision: Besides offering sets of three to collectors, and obtaining permission to use in future exhibits if required, I would like to see all 27 displayed together.
A total grouping would require a minimum of 36 x 27 feet of space (16 x 12 X 27), unless they’re displayed as a 3-D object, sculpture, or scattered. (The canvas backs only show my signature, year and inventory number.)
I would invite different artists or curators the opportunity to arrange them as their own statement. The variances in possible aesthetics would be marvelous to witness! Of course, I’d like a shot at it too. So, the future invites opportunities for exhibition in large public spaces and like-minded curators or artists to join in to arrange an exhibit.
Meanwhile, collectors with their threesomes are welcome to display them high, low, at an angle, in different rooms or throughout a living space. All is flexible according to one’s personal fancy. Their presence will illuminate many of the art principles artists work with, honing one’s own sense of dynamic visual energies.