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Article #145

Re: Erik's entry into abstraction: Open Critique

#145
From: Kay again
Date: Sun, 06 Jun 1999 00:00
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Erik A. Mattila wrote in message <3759B5D1.9DC507@tomatoweb.com>...
:I met an artist several years ago who did this.  He painted on sheet metal,
:and his studio was somewhat like an autobody shop.  His brush was a A1
:quality Binks spray gun, and his medium was automobile acrylics.  He would
:spray the metal sheed in a color.  Then he would dip his hand in a bucket
:of water and sprinkle water drops all over the sheet (which was laying
:flat, of course)  These auto-aacrylics dried in about five minutes, so he
:would then wipe off the water spots, which allowed the first color to show
:through,  He would repeat this process with different colors several
:times.  At intervals he would lightly sand the surface (as the water globs
:left a ring of paint skin sticking up in the air).  At any rate, after
:about a hundred steps, he had a quite wonderful painting.  Rally impressive
:stuff. (I can't remember his name -- Mike B...?).
:
:Erik
:
:Quo Vadis wrote:
:
:> In article <37583C8C.9A189803@tomatoweb.com>, Erik A. Mattila
:> <emattila@tomatoweb.com> writes
:>
:> >Speaking of which, has anybody out there used the irridescent and
:> >interference pigments that are out on the market?  I love these,
:> >especially the interference acrylics (Golden).  They are quite
:> >mysterious, and it is possible to make a painting that would be next to
:> >impossible to reproduce.  For those who are adamant about singularity.
:> >
:> >Erik Mattila
:>
:> I have, though I tend to avoid the gold and silver ones. There are
:> several products that you can mix in to the paint such as glass beads. I
:> have been trying to create a more unique surface lately - by pouring
:> layer and layers of paints in different proportions of oil to
:> turps/resin which give a *glow* that is very mysterious. Many of the
:> effects look like the moon's surface. Also I have been using latex mixed
:> in with acrylics and then painted over with glazes of oil and resin.
:> Maybe I will be able to explain the process better when I have worked
:> some more on it.
:> Alison.
:
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From: "Kay again" <scarlettaz@theriver.com>
Subject: Re: Erik's entry into abstraction: Open Critique
Date: 1999/06/06
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