Anderson describes his process as additive and self-generating. He begins the cut paintings by screen-printing or wood block printing patches or bands of color onto the base paper before cutting oval and circular shaped holes, then folding the paper and further applying paint through the cut holes, later collaging additional elements onto the work. The cut work motif in one painting, “Looking Good Lady,” is derived from the enlarged image of a typical rose tattoo at a local tattoo shop. Pierogi Gallery more
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| Reed Anderson, Pleasure Craft, 2013-2014, Acrylic and collage on cut paper, 40 x 42 inches |
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Reed Anderson, Harvey Love Muscle, 2013, Acrylic and collage on cut paper, 40.5 x 38.75 inches |
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Reed Anderson, Looking Good Lady, 2014, Acrylic and collage on cut paper, 40.5 x 38.75 inches |
Anderson describes his process as additive and self-generating. He begins the cut paintings by screen-printing or wood block printing patches or bands of color onto the base paper before cutting oval and circular shaped holes, then folding the paper and further applying paint through the cut holes, later collaging additional elements onto the work. The cut work motif in one painting, “Looking Good Lady,” is derived from the enlarged image of a typical rose tattoo at a local tattoo shop. Pierogi Gallery more
|
| Reed Anderson, Pleasure Craft, 2013-2014, Acrylic and collage on cut paper, 40 x 42 inches |
|
Reed Anderson, Harvey Love Muscle, 2013, Acrylic and collage on cut paper, 40.5 x 38.75 inches |
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Reed Anderson, Looking Good Lady, 2014, Acrylic and collage on cut paper, 40.5 x 38.75 inches |