Lest one conclude that monochrome means colorless.
This is the second of seven works on the ‘monochrome’ theme that I created in response to two of my galleries opening monochrome exhibits at exactly the same time. Writing on my first work I suggested two methodologies for arriving at a monochrome work: bend all colors towards a single shade or start with a desaturated image then add back a color. That first work used the former method. In this work I used the latter.
Or I should say, used the latter with a twist. The statement above suggests adding color to a noir or black and white image (and we’ll get to that in subsequent works). In this case, the original image was almost totally orange – a natural monochrome. For this work I simply removed any traces of anything other than orange, added several lighting and extrusion effects. “Monochrome”, meaning just one color, doesn’t necessarily mean just one shade or tone of that color. A monochrome work can still include a thousand different variations.
Seven monochrome works total – I would select two for exhibit at the two galleries. Neither this work nor the first were selected. Unless something changes my mind.
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It’s possible this work may look familiar. It probably should. It’s derived from a work already in my portfolio, in fact a work found on this site’s Consider page under ‘Previous Work’. In fact, of the seven works in this series, only the first work was created from a new photographic capture. I recognized very early on that my best monochrome works would come from adapting work from my library.
Thing is, I have decades of works. But so many tools have become available, and I’ve learned so many new techniques and styles in just the last couple years, that arguably I’m sitting on a thousand works I haven’t finished yet. More to say about this by and by.
All my life I have had to learn to do things differently. To see the world differently.