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Sharon Passmore 05-28-2016 05:07 AM

This is a mixed media - collage on canvas panel with recycled packaging and beads.

Ann Drysdale 06-22-2016 05:31 AM

Do you stick the beads on individually or press a stickened surface down onto an assemblage of them. What I'm really after is to know how random the colour result is - if at all. (I am thinking along lines suggested by W Edwards Deming.)

Sharon Passmore 06-23-2016 07:51 PM

Hi Ann,
The warm toned areas are beads and the majority of the blue areas are hole punch dots from recycled packaging. In either case, I place each one individually using a straight pin as my paintbrush. The desert floor is made of strips of paper which I drag across some glue and spread it with fingers - kinda like papier mache. As far as random color in the blue areas, I must pick them up from the back because I don't want glue on the surface, it makes a dull foggy appearance. Since I grab ones that are face down I have no idea what color it will be aside from the fact that all the dots are some variation of blue. I embrace the randomness unless I start getting too many similarly toned ones in a bunch.

You can see it very close up on this page:

Now I am seeing who W Edwards Deming is :-)

Ann Drysdale 07-20-2016 02:18 AM

I can see the beads in the close-up. I see that you have made a conscious decision that some of them will have the hole uppermost, like tiny doughnuts and others are curved surfaces with hidden holes. It's all about choice and I feel better about artwork that has been created in response to choice.

Did you find Deming? Did you see the "red bead" experiment? I hope you now see where the notion of random choice of beads fitted in with my thinking. :)

Sharon Passmore 07-20-2016 09:04 AM

Hi Ann, yes, I think I like that guy :-)

One of my instructors used to say "Not to design is to design by default". Therefore, everything in my work is a deliberate decision, even if it's a decision to embrace random chance or "wabi sabi". If you notice the sand dune, the size of the beads is graduated to help describe the curved shape. The paper strips forming the desert floor are graduated too but also becoming more greyed down in the distance for aerial perspective.

I don't remember who said it but,some major artist talked about having a large "vocabulary of marks". I try to have a interesting contrast and relationship from one area to another, even though my "marks" are not brushstrokes.

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