A semi-closed box experience
Having pre-prepped the mirror (oh so long ago – 18 months – more?), there were the rosary and the ‘whisk’ items to be made and a decision on whether to add some sort of signature/message in place of J van Eyck’s graffito.
Using whatever vaguely Medieval font I could find (a bit of a mix and match actually), I printed it out on tracing and ordinary papers to see what could be done. I held one up, I held up another, I applied one with square edges to the cut paper it was on, one that papered the whole wall so there were no joins showing … You get the idea. Giving up, I went for one that is cut out and clarted to the wall declaring itself as a stuck piece of paper. It’s poorly translated Latin and roughly says “Thrown together in 2014”, using the ‘J’ from Jan with its exuberant flourish above as a large capital ‘I’.
The taller of the 2 chairs is on a horrid platform to give a little more height in relation to its neighbours and this platform hopefully will be mostly eclipsed by the figure that’s eventually to go in front of it.
After the decision making process re which bed to use I’ve gone back to the big dark one as it is tall enough in relation to the ceiling and most of it will not be seen other than through the windows. Very little of it is visible in the painting.
Next job is dressing the bed.
Why the ‘semi-closed box’ reference? The painting is a fixed and blinkered pov which I hope to create via an opening only just wide enough to capture that point of view as closely as possible. The rest should be just about viewable via the windows.
Interpretations of the portrait:
- my daily art display – artist Fernando Borero
- Van Eyck’s “Miracle of Composition”: Ante-Deleuzian Crystals of Space/Time in the Arnolfini Portrait
- Web comics imitating art