My Kinetic Electric Light Artworks and Stained Glass and Acrylic Airbrush Paintings

Leonardo

My Kinetic Electric Light Artworks and Stained Glass and Acrylic Airbrush PaintingsAuthor(s): Dale E. Mills and Mary MillsSource: Leonardo, Vol. 11, No. 3 (Summer, 1978), pp. 187-190Published by: The MIT PressStable URL: http://www.jstor.org/stable/1574140 .

Accessed: 10/06/2014 14:04

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The MIT Press and Leonardo are collaborating with JSTOR to digitize, preserve and extend access toLeonardo.

http://www.jstor.org

This content downloaded from 195.78.109.164 on Tue, 10 Jun 2014 14:04:58 PMAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/action/showPublisher?publisherCode=mitpress

http://www.jstor.org/stable/1574140?origin=JSTOR-pdf

http://www.jstor.org/page/info/about/policies/terms.jsp


0024-094X /78/0701--0187$02.00/0 Leonardo. Vol. 11. pp. 187-190. ? Pergamon Press Ltd. 1978. Printed in Great Britain.

MY KINETIC ELECTRIC LIGHT

ARTWORKS AND STAINED GLASS

AND ACRYLIC AIRBRUSH

PAI NTI NGS

Dale E. Mills* with Mary Mills** Abstract-Several types of artworks by D. E. Mills and the techniques he employed in making theni are described in this article. In particular, explanations of the visual aspects are given for his kinetic electric light objects, etching of silvered mirrors, staining of glass plate and acrylic painting with an airbrush. Photographs of five of his works are reproduced, one in color.

I. The domain of what is considered to be visual fine

art seems to be expanding, embracing new possibi- lities, and, I (D.E.M.) believe, rightly so. But where does one draw the line? I would not call a tube of paint a work of art, but rather an art material. Yet, if it is put on display in a gallery or a museum, some assert that it is an artwork. I object to this and, although I assemble light bulbs, electric motors, paint, canvas, Masonite, glass and mirrors in some of my works, I hope that others will realize that I have imposed my will upon the materials.

In making pictures that include parts in motion and glowing miniature light bulbs, I have confronted the problem of combining the different media in a composition so that they will be found harmonious. For example, there is the unwanted dominance of radiant light over reflected and transmitted light that must be overcome. I believe that, through trial and error, I have found through the use of an intricate composition a way to resolve this problem.

Figure 1 provides an example. Here I have tried to make the painted part of the composition strong enough to counterbalance the effects of the large rotating (30 rpm) star and the sequentially flashing miniature light bulbs. The bulbs, more than 100 of about 3 watt strength mounted on a back panel, intermittently turn on and off to give the impression of bulbs of light moving continuously around a closed path, much like the lighting produced in theater advertisements in the U.S.A. The human figure and the two large juggling pins on either side are painted on a separate piece of Masonite that is mounted in the foreground. The rotating star is mounted between the figure and the background. The latter consists of an intricate design of dots and five juggling pins. Mounted in front of the work is a plate of glass that is the remains of a mirror from

*Artist, 3924 North Neva Avenue, Chicago, IL 60634. ** Writer (same address). (Received 6 Dec. 1977)

which most of the silver has been etched away; only the two diamond designs and two strings of discs in mirror silver remain in the two lower corners. These silver designs situated in front of the lights help to give the impression that the lights are further back than they actually are. Because of the 3-dimensional aspect and the use of a mirror as a partially- reflecting surface, one sees the work in its totality rather than focusing on the glowing bulbs and the rotating star.

Preparations for making a kinetic object such as this one usually take several months, during which time I am also engaged on other projects. There are

Fig. 1. 'Sideshow Circuit', acrylic paint, Masonite, plywood, miniature electric light bulbs, electric motors, 140 x 115 x 18 cm,

1976.

187



Dale E. Mills with Mary Mills

compositional and technical problems that I can solve only by pursuing one idea and then another on paper. In spite of the most careful preparation, however, new problems arise during the execution of the object that require revisions to be made.

II.

Over the years I have had to work out several procedures that were necessary for my work. One concerns the removal of silver from the back of a mirror in a controlled manner. In my first attempt, I brushed an acid resist over areas that I wished to mask, and I applied dilute muraic acid to the exposed areas. This was not a satisfactory procedure, because the edges of the etched areas were ragged following the use of a brush. I obtained satisfactory results by the following procedure: I applied a liquid masking solution, called Photo Maskoid, to the back of the mirror and allowed it to dry to form a protective film. Then, with the use of a sharp knife (Exacto knife), I cut the outline of the design area that was to be preserved in mirror silver, and I peeled away the Photo Maskoid film covering this design area. Then I applied the resist to the exposed area, and, after it was dry, I peeled away the remaining Photo Maskoid film. I was then ready to etch the exposed areas. This time the dilute muriatic acid that I used was thickened by gum arabic. The thick consistency of the acid made it easier to maintain the acid in contact with the glass over all the exposed areas. I have found that very dilute muriatic acid (concentration approximately one part by volume of concentrated acid and 16 parts by volume of an aqueous solution of gum arabic) is generally sufficient for etching the thin silver layer.

Now I am considering masking a glass surface and having the unprotected areas silvered in a controlled manner. There are quite a few technical problems to be solved, and I shall have to study rather extensively appropriate electroplating techniques. For the time being, however, I shall continue using the etching technique.

III.

The most difficult problem in making my artworks is how to produce a feeling that they have vibrant energy. There is no easy formula for inducing such a sense of vibrancy.

This concern lead me to introduce miniature light bulbs in some works. Earlier, I had generally used bright colors and colors that complement each other in acrylic paintings on canvas, in an attempt to produce impressions of pulses of light, but what I felt was needed were real pulses, rather than an illusion of them. How much better it is to 'paint' by incorporating flashing light bulbs rather than to try to capture the effects by depiction! I began to experiment with the introduction of motion arrd changes with time by means of electric motors and lights. My knowledge of electricity and circuitry has progressed to the point where I am confident that I can design my objects well and cope with problems

that arise, such as motor noise and electric bulb heat generation.

Many times I am confronted by problems that are not encountered when using traditional artists' materials. Often they seem insoluble, and I am tempted to procede no further in developing a technique. But I believe that artists today should develop competence with new materials and techniques, in order to produce artworks that effectively convey their reactions to contemporary life. I do not agree with those who hold that ideas for artworks outweigh their execution. To me this is the easy path chosen by so-called conceptual artists who think that artists' ideas are sufficient unto themselves.

IV.

An important technique that I have learned involves the use of an airbrush. It has become an invaluable tool and accounts for a turning point in my work in 1973. Prior to that I had found that the smooth blending of colors is difficult and at times seemingly impossible to achieve to the degree that I demand. I had been using oil paints and watercolors, each of which blends well; but each presents particular difficulties. Although my precise work is time consuming, and the slow drying of oil paint is an advantage, I found that the drying is much too slow. Watercolors, on the other hand, dry too fast. An airbrush turned out to be what I need, because with it I can spray water-based acrylic emulsion paints, which dry fast over areas carefully bordered by a liquid masking material called Frisket. The masking material is applied by brush and dries to a protective film. After the spraying of paint is completed, the Frisket is peeled off. The width and density of the paint spray may be varied con- veniently, permitting good control in blending colors.

The painting in Fig. 1 was done with an airbrush. (I use Paasche 'HS' airbrush, which has quickly interchangeable, easily cleaned parts.) The background displays well the effects that can be produced. The regular pattern of tiny dots was obtained by spraying through perforated aluminium sheet, parts of which were masked by an acetate film stencil glued to the aluminium sheet. Interesting effects can be obtained by spraying through lace. Each tiny thread is visible on the sprayed surface of the canvas. I am constantly on the alert for different objects that might be interesting to spray through.

The painting in Fig. 2 is my latest; I believe it to be one of the best examples of my use of an airbrush. My concern with pulses and motion is amply evident in the painting. Although I believe that my ability to convey the feeling of changes with time is related to my work with kinetic artworks, these painted effects continue to please and surprise me. Each area of skin scale on the octopus-like tentacles was masked and sprayed to produce a soft bubble appearance. Realistic highlights of reflected light on the sword, shield and boots, and the gradual

188



My Kinetic Electric Light Artworks and Stained Glass and Acrylic Airbrush Paintings

blending of the background color from a light tone in the center to progressively darker tones towards the edges of the painting are typical effects that can be produced with an airbrush.

V. The kinetic electric light object shown in Fig. 3

(cf. color plate) is another example of delicate airbrush work. The spray was applied to a Masonite panel in which I had cut out shapes outlining the front of a juke box. A piece of Plexiglas is fastened against the back of the Masonite panel. I made designs on the Plexiglas in various transparent colors with the use of a special lacquer called Glass Stain (made by Joli Plastics & Chemical Corp., Gardena, Calif., U.S.A.).

I have been using Glass Stain for painting on glass since 1972, because I am particularly intrigued by light passing through the areas of color. To enhance the effect, I place reflecting materials behind the glass in a box-type frame. To make designs in Glass Stain on glass or Plexiglas, I procede as follows: I make a stencil of the outline of the desired design using a sheet of lacquer-based silk screen stencil film, called Plasti-Cut Stay-Sharp (made by Vlano, Brooklyn, N.Y., U.S.A.). To produce an outline that is uniform in width (approximately 0.4 mm), I employ a Ramsey Film Line Cutter (made by the Ramsey Co., Dallas, Texas, U.S.A.). The stencil is adhered to the silk screen with the use of a fast drying lacquer thinner. When dry, the plastic backing is peeled off, revealing open lines on the screen. Black glass

Fig. 2.'Sacrifice to the Gods', acrylic paint on canvas, 120 x 90 cm, 1977.

enamel (made by Naz Dar Co., Chicago, Ill., U.S.A.) is then screened onto the glass. The resulting deposit of enamel, forming the lines, is just high enough on the glass to contain a layer of liquid Glass Stain, the application of which is a delicate operation, for, if a smooth transparent color film is desired, the syrupy Glass Stain must be allowed to flow off the brush rather than be stroked onto the glass surface.

About 8 cm behind the glass plate is the back panel supporting a background of reflective glass beads very much like grains of sand, that reflect brilliantly when light falls on them, much as they do when used in traffic signs along highways. Light passing through the stained glass returns by reflection, bringing forth brilliant colors. Behind the stained glass, at the top of the juke box, there is a bank of lights that flash on and off giving a scintillating effect. At the two sides, vertical rows of lights flash in sequence, giving the impression that spots of light are continuously moving upward.

I found that when using stained glass, I should try to use both reflected and transmitted light to the best advantage. Figure 4 provides an example in which each effect plays a role. In this work, the background includes reflective beads glued to a mirror in an elliptical design and silvered plastic hemispheres (dia. 5 cm) mounted along all four sides within the box-like frame. Light passing through the painted glass throws a colored image

Fig. 4. 'Mae', glass stain, glass plate, reflective beads, silvered plastic hemispheres, mirrors, 89 x 56 x 7.6 cm, 1975.

B

189



Dale E. Mills with Mary Mills

Fig. 5. 'Misty Memory', acrylic paint on canvas, 79 x 148 cm, 1976. (Collection of Mr. and Mrs. David Hodgson, Oak Park,

Ill., U.S.A.)

onto the beads on the background. When one views the work from the front, one sees not only the painting on the glass but also its image in reflection from the background. The result is a 3-dimensional

effect with shimmering light in the back and at the sides.

VI.

One skill that I believe is indispensable to an artist is that of woodworking. At least in my art it plays an important role. A wooden structure supporting stretched canvas, glass plates, motors, etc. must be strong and durable. I have seen many paintings whose wooden support is nailed together unmitered and without braces and cross bars to prevent bending. The result is often a loose canvas or a warped surface.

Picture frames serve an important artistic pur- pose. Bad workmanship of a frame can detract from a painting and its appreciation. I fit frames to my pictures carefully. the corners are mitered well, sanded and nailed. Nails are countersunk, and the holes are filled with putty. Finally, the frames are stained or painted.

The subject matter for a painting is something I dwell over for quite a while. I weigh the various ideas I have and decide from small sketches which I should pursue. I believe that a type of composition that will arrest the attention of viewers is one in which there is a blend of unrelated objects assembled in such a way as to produce a subtle feeling of strangeness. In one instance, I accom- plished this by the use of color and by cropping the picture (Fig. 5). By this means I transformed a portrait reminiscent of the past into one reflecting the vibrancy of present-day life in the U.S.A.

Through the above examples, I have attempted to illustrate how widely ranging is my art both in subject matter and in execution. I realize that there are aspects in the techniques of drawing and painting and in the color relationships that give my work a character, but I am careful to avoid pursuing one or another pictorial idea exclusively. I follow up whatever presents a challenge to me as an artist. I feel that categorizing the style of works of artists often lures them into a continuation of the same style, often with only minor variations. I find that this is a deadening path. Artists who are thus lured, I feel, lack the capacity for original work.

___ ~~~~~~~~~~~~~~~ __._._ __ __ _~~~~~~......

190



r r r r r

Top left: Alan W. Bernheimer. Untitled, color reflectograph, 19 x 24 cm, 1966. (Fig. 4, cf. page 178)

Top right: James F. Watkins. View of a floating image produced by the kaleido-sculpture device, 1976 (Fig. 1, cf. page 219)

Centre: Aage Justesen. 'Pictonom Fr I Sv, Anneliese Rothenberger', silkscreen print, 42 x 55 cm, 1976. (Fig. 1, cf. page 206)

Bottom left: Robert J. Divita. 'Earth, A Planet in the Universe of Hydrogen (The Building Block of Life)', intaglio print, 28 x 35.5 cm, 1975. (Fig. 1, cf. page 181)

Bottom right: Dale E. Mills. 'Menage a trois', acrylic paint, Glass Stain, glass plate, miniature electric light bulbs, reflective beads, 125 x 115 x 18 cm, 1977. (Fig. 3, cf. page 189)





















[facing page 190] [facing page 190] [facing page 190] [facing page 190] [facing page 190]



Documents

My Kinetic Electric Light Artworks and Stained Glass and Acrylic Airbrush Paintings