Brad Boca at Candela Fine Art has been doing beautiful drum scans of the still life work I shot during the summer months when it’s too hot to print (with the temperatures soaring into the mid-nineties in the platinum palladium room). Here’s a sample. I work on a combination of instant film and color transparency. The instant film is for proofing the composition and lighting. The color transparency is for the “final” image and is the medium that gets drum-scanned.
Platinum-palladium prints from Los Caprichos: after Goya, an artist’s book inspired by an eighteenth-century masterpiece of the same name: Francisco José de Goya y Lucientes’ album of eighty satirical aquatints, published in 1799.
Los Caprichos means literally: whims. The images are photographed from video source and printed in platinum-palladium. In keeping with the original’s mordant and pun-laden commentary, each of the images is printed with a caption — in Spanish.
The auction biz is a growth industry — with the white hot molten core in New York seeking new nodes in the bubble economies of California. Who are these new, tremendously juicy west coast elites suddenly swelling in the old houses’ appreciation? “A younger generation of Hollywood producers and actors in Southern California including Leonardo DiCaprio and Tobey Maguire; venture capital firms and hedge funds in San Francisco; technology executives in Silicon Valley; and wealthy Chinese and Indian families all along the coast”, according to Sotheby’s newly appointed west coast chief (see Sotheby’s Uses $200 Million of Art to Woo West Coast Rich).
(Los Caprichos is a series of platinum palladium prints inspired by Goya’s 18th-century album of the same name.)
Fuji’s instant film is gorgeous; I’ve shot with it often enough before, but never to do still life. The trick to getting consistent results on instant film is to swab the polaroid back rollers with alcohol before loading each new pack. (The parcheesi men here were stowaways in a vase I found at Urban Ore, Berkeley’s greatest recycle and reuse store—aka junk shop.)
More Caprichos are in the works… Meanwhile, I’ve been sketching with the phone camera, working on still life ideas — and I liked this image. (Think I may do a series of them on Fuji instant film. It would help empty out the fridge…)
It’s almost time to eat the pears… I had dinner last night with my painter friend, Tim Rice, and two of his friends — one an actor and the other a collector. The conversation was lively — we’d just been to an opening, and talk was about changes to the gallery world (the magaritas helped buoy the mood, in spite of the subject). This morning when I got to the studio, Lisa, the collector, had left a bag of Asian pears on the stoop. I must have told her that my Boscs were nearing their end.
Tomorrow, maybe another run to the junk shop. There was a brass candlestick I wish I’d gotten last time.
More postings on the Caprichos soon, too. The hand lettering is coming along, slowly but surely.
Turning to the world inside the studio at the moment — and there’s a lot going here. I’ve submitted a portfolio of the Ohio Woods work to Photolucida’s 2014 Critical Mass. This is my first time doing it, so I’m not sure what to expect or how fruitful it’ll be. Meanwhile, the Caprichos are undergoing intensive changes and each one requires hours of focused work. Sometimes I need a change of pace — so I’ve been doing some still life. It sounds easy, or at least easier, than many types of photography, but it in fact it’s a mysterious and exacting discipline. I’ve been an admirer of Jan Groover’s work for some time, and still remember a Morandi show at SF’s Paul Thiebaud Gallery that I saw years ago. I’d always meant to set aside the time to work at it.
We’ve got a great junk shop here in Berkeley — Urban Ore; it’s where I bought the trunk this group is sitting on. It’s not too heavy (the trunk), and I can move it around the studio, following the light. One thing I’ve learned the hard way: every object has to contribute vitality to the picture.
One printing project has come to an end (a digital restoration and palladium copy print of a portrait (ca. 1913) by Gertrude Käsebier, and now I’m planning the next few weeks’ worth of printing. I’ll be working on Caprichos, of course, and also some new still lifes — this is one.