F T Kettering
ArtistUSA
About Artwork:
The website brilliantgods.com describes, step by step, my method for shaping these antikons, or "answering images." Here I'd like to emphasize that using such a method feels liberating rather than restrictive. Potential connections between the two images are virtually infinite, arising from all sorts of responses, and taking all sorts of forms. Some connections are more obvious than others.
Look, for example, at the four most prominent abstractions in Stone Circle and Holy Cove - a bull's head, a flower, an octopus, a double axe. You'll see at once that the bull shows a formal connection to the oak and its branches; that the octopus similarly relates to the looming, dark mountain. The abstract flower and the axe, by contrast, relate to content - the first to the actual flowers within the same triangle; the second to the theme of the whole piece.
The old photos are also placed as they are intentionally, each for its own reason. My paternal grandmother was practical and direct. My maternal grandmother, shown in her youth, was art-loving and spiritual. A Seabee in WWII, my father was killed during the landing on Iwo Jima. It makes sense to show an airplane against sky, a body against sand, rather than the reverse.
Such placements reveal conscious decisions, more considered than intuitive. They are easiest to explain, because one can see clearly how to get from A to B. More mysterious are the issues they raise: What takes us from a stone circle in Minnesota to ancient Crete and two beloved grandmothers? Or from a lovely cove on Bainbridge Island to a wartime slaughterhouse?
Other connective elements are even less conscious: Why is the icosahedron's 360-degree map broken vertically just here rather than there? How do the mirroring colors relate to one another? Why is there so much symmetry? What do those blue and gray framing circles signify? What does it all mean?
If I could tell you, I wouldn't need to make the art.
F T Kettering
Holy Cove
- 2001-present
- 75 x 36 inches
- Fine Art Category: digital
- Origin: USA
- Signed: Signed verso
- Comments:
Please click on the image to see it full-screen.
Stone Circle, Holy Cove, and Wide Bridge are new works, never exhibited. Their price is based not on presumed value but on labor.
Each diptych will ship in a sturdy mailing tube, as two high-quality, semi-gloss digital inkjet prints, each 36" by 36" (or smaller, if you prefer). Both sheets will be numbered and signed en verso - one with my name, one with my monogram.
Buyers are encouraged to choose their own format for framing and display, e.g. fine art foam board; narrow (black) metal frames; a wooden, hinged, free-standing, diptych frame.
- Visit Website
- Price: $4,000.00 USD
- Seller: F T Kettering, USA
Contact Seller...
- More by this artist
- Get artist alerts
- Save to favourites
- Share on facebook
- Share on twitter
- Pin to Pinterest
- Share on LinkedIn
- Email this artwork
- Report this artwork
- Artplode ID: 1915
- Artplode Seller ID: 1520
About Artwork:
The website brilliantgods.com describes, step by step, my method for shaping these antikons, or "answering images." Here I'd like to emphasize that using such a method feels liberating rather than restrictive. Potential connections between the two images are virtually infinite, arising from all sorts of responses, and taking all sorts of forms. Some connections are more obvious than others.
Look, for example, at the four most prominent abstractions in Stone Circle and Holy Cove - a bull's head, a flower, an octopus, a double axe. You'll see at once that the bull shows a formal connection to the oak and its branches; that the octopus similarly relates to the looming, dark mountain. The abstract flower and the axe, by contrast, relate to content - the first to the actual flowers within the same triangle; the second to the theme of the whole piece.
The old photos are also placed as they are intentionally, each for its own reason. My paternal grandmother was practical and direct. My maternal grandmother, shown in her youth, was art-loving and spiritual. A Seabee in WWII, my father was killed during the landing on Iwo Jima. It makes sense to show an airplane against sky, a body against sand, rather than the reverse.
Such placements reveal conscious decisions, more considered than intuitive. They are easiest to explain, because one can see clearly how to get from A to B. More mysterious are the issues they raise: What takes us from a stone circle in Minnesota to ancient Crete and two beloved grandmothers? Or from a lovely cove on Bainbridge Island to a wartime slaughterhouse?
Other connective elements are even less conscious: Why is the icosahedron's 360-degree map broken vertically just here rather than there? How do the mirroring colors relate to one another? Why is there so much symmetry? What do those blue and gray framing circles signify? What does it all mean?
If I could tell you, I wouldn't need to make the art.
