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| ©2016 Joshua J Barbosa |
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| Detail©2016 Joshua J Barbosa |
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| ©2016 Joshua J Barbosa |
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| ©2016 Joshua J Barbosa |
Sunday, August 28, 2016
Collaborative Empiricism -11"x14" Balsa, acrylic, wire, stain and foam on wood.
"Collaborative empiricism: therapist and client become investigators by examining the evidence to support or reject the patient's cognitions. Empirical evidence is used to determine whether particular cognitions serve any useful purpose."
Friday, April 29, 2016
Tripartite - 11"x14" Balsa and acrylic on wood.
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| Tripartite ©2016 Joshua J Barbosa |
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| Tripartite ©2016 Joshua J Barbosa |
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| Tripartite ©2016 Joshua J Barbosa |
The farthest most right section is fluid in the arrangement of it's balsa wood tiles. Imperfections in size and shape lend to the liquid like flow that leads the viewers eye to the deepest region. Larger block shapes suggest this space is not safe for swimming.
The center section is linear in both its components and direction. Narrow slats of balsa suggest vertical directionality despite their horizontal placement. Colors are muddy and sparse imparting a weathered look. Most unexpectedly this section continues off the bottom border, turning inward towards the wall on which it hangs.
On the far left are fields of heavily saturated turquoise patchwork, arranged in a more orderly fashion than it's predecessors. Vivid Blue-greens try and steal the show but concede slightly to the exposed grays of stained balsa wood.
Initial inspiration was mainly compositional. Turned 90 degrees to the right it is more obvious that a landscape of sorts was imagined. I thought mainly of the view across my favorite pond.
Color choices were unplanned and instead accepted as they occured. Resulting in an image that hints at tropical blue waters and aging seaside infrastructure.
I consider Tripartite an overwhelming success!
Available for purchase here.
Tuesday, April 26, 2016
Homogenized Diversity - 8"x8" Balsa and acrylic on wood.
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| Homogenized Diversity ©2016 Joshua J Barbosa |
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| Homogenized Diversity ©2016 Joshua J Barbosa |
When I started working on this image I had just read an article covering protests by hundreds of "Democracy Spring" activists in Washington DC. The events and politics of that day did not necessarily inspire the image. They did however inform the ideas that resulted in the final composition.
The Land Pavilion - 6"x6" Balsa and acrylic on wood.
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| The Land ©2016 Joshua J Barbosa |
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| The Land ©2016 Joshua J Barbosa |
Sunday, April 24, 2016
Brickyard - 12"x12" Balsa and acrylic on wood.
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| Brickyard ©2016 Joshua J Barbosa |
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| Brickyard ©2016 Joshua J Barbosa |
Sat across from my friend, over some gluten free beer I had the idea to turn the balsa on its side.
That was the catalyst for what would turn out to be a very satisfying build. I just started gluing, like on the others before. At first, all the pieces fit neatly next to one another. It is then that I'm most conscious about contrast of length, width and height of the balsa. Eventually, the available space for gluing is limited but the tight gaps and corners take on much interest once tediously filled. A composition emerges from the wood, things will make sense or not. A lot of decision making can also be based on what cut balsa I already have in front of me. Limitation of building materials can push ones decision making to the brink of utter aggravation. In the end, forcing such limitations upon myself have been rewarding.
Color is always one of my biggest concerns when working on an image. There is both conscious an subconscious effort to apply color that is unique to my personal aesthetic. I try to communicate physical depth and depth of feeling via color. While the physical construction establishes the setting, the color imparts the weather of that particular locale. The brick red stain I mixed for Brickyard felt very familiar, possibly even safe but set the appropriate mood lighting for the terrain of the surrface. Once dry, this piece with its unmistakably brick red hue, transported my imagination to a spot I have been fishing for decades, Brickyard Pond.
Brickyard Pond was once a clay pit that supplied much of Southern New England with bricks. Living in Rhode Island, brick facades of buildings large and small, residential and commercial are a very familiar sight. Perhaps this influenced my color choice or perhaps it was coincidence. Either way it has become relevant to this image. An image that I am proud to say has set me on a new path that I hope will result in many engaging compositions influenced by one another.
That was the catalyst for what would turn out to be a very satisfying build. I just started gluing, like on the others before. At first, all the pieces fit neatly next to one another. It is then that I'm most conscious about contrast of length, width and height of the balsa. Eventually, the available space for gluing is limited but the tight gaps and corners take on much interest once tediously filled. A composition emerges from the wood, things will make sense or not. A lot of decision making can also be based on what cut balsa I already have in front of me. Limitation of building materials can push ones decision making to the brink of utter aggravation. In the end, forcing such limitations upon myself have been rewarding.
Color is always one of my biggest concerns when working on an image. There is both conscious an subconscious effort to apply color that is unique to my personal aesthetic. I try to communicate physical depth and depth of feeling via color. While the physical construction establishes the setting, the color imparts the weather of that particular locale. The brick red stain I mixed for Brickyard felt very familiar, possibly even safe but set the appropriate mood lighting for the terrain of the surrface. Once dry, this piece with its unmistakably brick red hue, transported my imagination to a spot I have been fishing for decades, Brickyard Pond.
Brickyard Pond was once a clay pit that supplied much of Southern New England with bricks. Living in Rhode Island, brick facades of buildings large and small, residential and commercial are a very familiar sight. Perhaps this influenced my color choice or perhaps it was coincidence. Either way it has become relevant to this image. An image that I am proud to say has set me on a new path that I hope will result in many engaging compositions influenced by one another.
Tuesday, April 12, 2016
Willett - 8"x8" balsa, coffee and acrylic on wood.
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| Willett - 8"x8" Balsa, coffee and acrylic on wood. |
This image developed free of any conscious influence. Only after staining with coffee did I associate the shape in the center with one of my favorite fishing spots. Color choices were dictated by the association with Willett pond; an alternate reality where the water is crystal clear and free of human refuse.
Saturday, April 9, 2016
Juniper-6"x6" balsa, tea and acrylic on wood.
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| "Juniper" ©2016 Joshua J. Barbosa |
Just outside of my home are rows upon rows of Juniper tree. They are manicured in such a way, that they maintain the shape of a hedge. These hedge rows, dense and green beg for further investigation. Careful observation led me to the discovery of dozens of pine cone like objects hanging from the Juniper branches.
As it turns out, the objects were not pine cones but cocoons, bag worm cocoons. Now I wont get into too much detail about the bag worm; the most interesting attribute is however worth a mention. Bag worms utilize bits and pieces of whatever tree or plant they hang from to construct their safe haven. The resulting encasement appears as if it has actually grown on the host plant. Deceiving, subtle and awesome.
Subtlety was on my mind when constructing this image, the subtlety of the bag worm Juniper cocoon.
Experimentation with positioning of balsa is becoming more a prevalent part of the process. Once glued, stain and paint applications were checked and balanced by varying grits of sand paper. Pushing and pulling set the rhythm of Junipers' construction. Subtlety won the fight and I am happy it did.
As it turns out, the objects were not pine cones but cocoons, bag worm cocoons. Now I wont get into too much detail about the bag worm; the most interesting attribute is however worth a mention. Bag worms utilize bits and pieces of whatever tree or plant they hang from to construct their safe haven. The resulting encasement appears as if it has actually grown on the host plant. Deceiving, subtle and awesome.
Subtlety was on my mind when constructing this image, the subtlety of the bag worm Juniper cocoon.
Experimentation with positioning of balsa is becoming more a prevalent part of the process. Once glued, stain and paint applications were checked and balanced by varying grits of sand paper. Pushing and pulling set the rhythm of Junipers' construction. Subtlety won the fight and I am happy it did.
Wednesday, April 6, 2016
The Larch - 8"x8" balsa, tea and acrylic on wood.
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| "The Larch" ©2016 Joshua J. Barbosa |
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| "The Larch" ©2016 Joshua J. Barbosa |
Several weeks ago my wife and I identified a Larch tree at a local botanical garden. We stood beneath it, posed for a photo and collected a pine cone. We were there on a botanical and etymological quest, to gather specimens, and identify insects and plants alike. Yes, we do this for fun! I like to think this image transports it's viewer to such a place.
Trying to verbalize exactly why this image transports me back to that moment is difficult. This is problematic, as that is exactly what I'd like to do with these blog posts. Luckily my good friend Phillip J. Mellen had this to offer:
"I think that maybe the 'order' of the composition points to how you investigate, collect, organize, or make sense of what you see in nature and science. Perhaps all of the above."
All of the above.
Concerning process, this is an experiment with balsa wood tiles. I am finding that crafting or building images is far more satisfying than solely utilizing paint. Red Rose tea is what I had on hand when it was time to stain; the tea imbues the wood with a warm glow and accentuates the balsa grain. Subtly was key in placing soft acrylic blues and greens across the composition.
Trying to verbalize exactly why this image transports me back to that moment is difficult. This is problematic, as that is exactly what I'd like to do with these blog posts. Luckily my good friend Phillip J. Mellen had this to offer:
"I think that maybe the 'order' of the composition points to how you investigate, collect, organize, or make sense of what you see in nature and science. Perhaps all of the above."
All of the above.
Concerning process, this is an experiment with balsa wood tiles. I am finding that crafting or building images is far more satisfying than solely utilizing paint. Red Rose tea is what I had on hand when it was time to stain; the tea imbues the wood with a warm glow and accentuates the balsa grain. Subtly was key in placing soft acrylic blues and greens across the composition.
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