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[ Home: Acrylics: Paint-Skin Collage and Mosaic ]
"Paint-Skin Collage and Mosaic"
Page 3 of 4

Author: Al_Razza, Contributing Editor

The paint-skin collages are just layers of paint-skins. Only paint-skins are used to build the collage. Square tiles and random shapes are made by placing dry pieces into a wet sheet of color and allowed to cure. Once cured, they are cut into various shapes and applied to a canvas, forming an expressionist image or design. It is the many layering of color and rough surface that makes them visually distinctive. I define this layering as the one characteristic that makes them a collage.

For paint-skin mosaics, a master model and several duplicate patterns are used to cut out the pieces of skin. Once I have a model to work from, I organize a palette, mixing the color to create a skin for each color field in the design. When the skins are made, I cut each piece and fit them to the master pattern, which is laid out under a sheet of glass. The placing of each piece side by side is the defining characteristic that makes them a mosaic.

When someone views my work, it pulls them in, closer and closer like a magnet. Why? Because the paint-skin surfaces are filled with unusual textures that viewers find intriguing, but it is their unusual nature that viewers also struggle with.

Some words used to describe them are: glass, marble, Mother of Pearl, tile, ribbon or cloth. I have heard similar descriptions from others who have tried this type of process. Even a comment that some paint company might be using this as some promotional gimmick. But the question is, Are they paintings? I believe they are, even if paint is not used in a conventional manner.
Many of my paint-skins stand off the canvas, as high as 2”, like a low relief sculpture, which leaves the surface a mass of snake-like ribbons, twisting and turning. In the mosaics, the colors rotate and twist like something out of a spin art machine, yet organized in very distinctive patterns. Still others fall somewhere in between. Their tactile sensation is strong, and this evokes a primal need inside the viewer, prompting them with “A need to touch”. And I want that.

But whether I am making a process work of art, or a decorative design, the color's complexity is like nothing else I have seen or been able to duplicate in any other way. So, I employ the paint-skin in the making of an artwork, but not exclusively to finish it. I alter everything to suit the completion of the work, adding whatever materials I wish.
This is the glass paddlewheel style easel shown with paint applied and in the tilted position.
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