by Daric Gill
Last week I shot a few more paintings as part of my portfolio update. This piece is called Absolute’s Complement: Asymmetry. The piece has many layers of translucent paint that creates the feel of undulating rust. This glazing process allows for a surface that is entirely flat with only the appearance of texture. Similarly, the hand-built frame has a wash over the surface to give it a more weathered look.
by Daric Gill
After a delightfully busy week of studio work and paneling an art festival, I’m continuing the process of re-documenting my collection.
It’s not the biggest or the smallest piece in this series. It doesn’t hold the most humor or even seem as conspicuous as some other pieces in this series. But this piece holds a lot of information for portraying so little. It’s the sometimes less is more analogy. There’s also a lot of hidden secrets in this piece. Painted on quilted black walnut, even its fairly small dimensions are a sneaky deception. Absolute: Radiance weighs as much as a piece 3 times its size due to its thick cross section. The security code usually stamped on the back is hidden on the side wall of the wood. Even the materials it is made of has a literal and figurative duality.
This painting depicts a bent nail resting on a vein of halo’d metallic gold paint. This effervescent vein follows the grain pattern of the wood and changes sheen based on where the viewer stands. As you have read, there’s some interesting aspects of this piece’s process that makes for some cool behind the scenes information.
The real nail used as subject matter is still IN the piece… after it was liquified and used to dye the frame.
[Image Gallery & More Below]
by Daric Gill
In spirit of my latest few blogs, I’m going through past work and updating my images to show more of the details within my collection. Today’s post centers around one of the earlier Absolute paintings. The lighting of the painting is such that the wood grain drastically changes under the power of light that hits it. Higher powered light makes for a more dynamic transition between grains (as you can see from the images below). Made in 2011, Absolute: Power has a copper serial number that only appears in the first handful of this series. The frame is made from the same vintage barn wood as the painting and is indeed in the exact condition it was initially found in. The painting surface has been sanded to show the warmth of the wood without going so deep as to eliminate the deep rich colors that are a result of many years of aged character.
Image Gallery Below
As I kick off the new year with updated images, I’ve been given special access to re-shoot a sold piece. This is a piece of furniture I made a few years ago and has gone into the home of a dear collector of my work. Among the first things you’ll notice is the bloodwood butterfly joints recessed into the birdseye maple top. Some call this joint a bowtie, double dovetail, or key joints. These two butterfly joints span a laminated seam and are additionally aided by internal biscuit joints along that seam. All inlays were hand chiseled. The bloodwood keys are naturally that alizarin in color which is primarily where the name blood-wood comes. Coated with a thick layer of polyester resin, this whole top sits above a fully restored 1901 Singer sewing machine treadle with a rare maple wood spindle arm that helps drive the fly-wheel from the foot-pedal.
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Daric Gill 
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