I pulled from my experience of painting and working in the darkroom. By creating the entire art piece with just three Photoshop tools. Paint Brush, Dodge, and Burn Tools.
By focusing on tools that I understood (in the real world), I quickly grasped the abilities and limitations of working with digital tools. Since then, I have become a Photoshop Master - with a vast knowledge on all of the tools.
The Door Scene. Some artist look back on their work. And with experience can see something different they would have done. I do not feel that toward these doors. At the time, I loved creating them from my photography and drawings. Each door projected on to a moving screen. The dancers interacted with the moving screens.
The red of the door with the iron work protected so well. The difference between the dark tones and the orange-red saturation work prefect. The snake really do look quite evil.
DOOR 2: Two Heads
The doors came from my own photography collection. What I didn’t have image of, I drew. These doors were shown off on stage – scaled larger than life. The 3D effect at the top of the door and the lower corners is an old disco ball. The teeth from the monsters head is the Needle (Center of Dublin). I like combining textures and tones from different time periods.
DOOR 3: Little Door
The small door had a quick scene when door opened for a short animation. On stage the door animation and stage lighting for the effect of light coming out of the door. Really great effect – that out a full house roam every-time.
DOOR 4: Knockers.
The 4th and final door is the most plain of the designs. On stage, this door was beside the 3rd door – that had an animation scene – that the audience were to engage with. Pull the design back on this door kept the interest in point.
Creating work for a moving screen
Two doors came from one projector. To ensure that the image rests correctly – when arriving at an angle. This is where the math comes in – and the artwork starts to look a bit like this.
Sur·ren·der first began as a simple sketch called "Hands Up".
Most of my paintings in the 90's began as a 2D cartoon sketch. I quite liked the 2D image. Sure it was simple, but it held a focus. The abstract style came later. It was more of an emotional response than an artistic one. The idea of consuming the figure with layers of paint was reflective to a personal relationship. While the original face of the friend was open and clear. The truth about this person was much more of a facade. The thick layers of oils hide the original honesty of the piece, in exchange for something darker and unfriendly.
