JAY BURTON TRACY | Works on Paper
study #18 (from an untitled score for The Ruined Sky), 2016–2022
water-soluble oil color, varnish, polyurethane, emulsion hardener
bone ash, pumice, ink, studio dust on manually scored, abraded,
and chemically altered thermogenic drawing mounted on museum board
6 1/4 x 4 1/4 inches | collection of the artist
bone ash, pumice, ink, studio dust on manually scored, abraded,
and chemically altered thermogenic drawing mounted on museum board
6 1/4 x 4 1/4 inches | collection of the artist
study #25 (from an untitled score for The Ruined Sky), 2016–2022
water-soluble oil color, varnish, polyurethane, emulsion hardener
bone ash, pumice, studio dust on manually scored, abraded,
and chemically altered four-part thermogenic drawing
mounted on museum board
7 1/8 x 11 1/8 inches | collection of the artist
bone ash, pumice, studio dust on manually scored, abraded,
and chemically altered four-part thermogenic drawing
mounted on museum board
7 1/8 x 11 1/8 inches | collection of the artist
study #26 (from an untitled score for The Ruined Sky), 2016–2022
water-soluble oil color, varnish, polyurethane, emulsion hardener,
bone ash, pumice, studio dust on manually scored, abraded,
and chemically altered four-part thermogenic drawing
mounted on museum board
7 1/8 x 11 1/8 inches | collection of the artist
bone ash, pumice, studio dust on manually scored, abraded,
and chemically altered four-part thermogenic drawing
mounted on museum board
7 1/8 x 11 1/8 inches | collection of the artist
study #30 (from an untitled score for The Ruined Sky), 2016–2022
water-soluble oil color, watercolor, varnish, polyurethane
emulsion hardener, bone ash, pumice, ink, studio dust on manually
scored, abraded, and chemically altered four-part thermogenic drawing
mounted on museum board
7 1/8 x 11 1/8 inches | collection of the artist
emulsion hardener, bone ash, pumice, ink, studio dust on manually
scored, abraded, and chemically altered four-part thermogenic drawing
mounted on museum board
7 1/8 x 11 1/8 inches | collection of the artist
study #34 (from The Ruined Sky), 2016–2022
water-soluble oil color, watercolor, varnish, polyurethane
emulsion hardener, bone ash, pumice, ink, studio dust on manually
scored, abraded, and chemically altered thermogenic drawing
mounted on museum board
6 1/4 x 4 1/4 inches | collection of the artist
emulsion hardener, bone ash, pumice, ink, studio dust on manually
scored, abraded, and chemically altered thermogenic drawing
mounted on museum board
6 1/4 x 4 1/4 inches | collection of the artist
detail #363 (from The Ruined Sky), 2016–2022
water-soluble oil color, watercolor, varnish, polyurethane
emulsion hardener, bone ash, pumice, ink, studio dust on manually
scored, abraded, and chemically altered thermogenic drawing
mounted on museum board
6 1/4 x 4 1/4 inches | collection of the artist
emulsion hardener, bone ash, pumice, ink, studio dust on manually
scored, abraded, and chemically altered thermogenic drawing
mounted on museum board
6 1/4 x 4 1/4 inches | collection of the artist
in 2015, i discovered that the thermogenic
drawings i had been producing could be
altered and augmented by selectively
applying certain solvent-based paints,
emulsions, and industrial coatings.
by 2021, nearly all of the over two
hundred drawings of this type made
in 2015 and 2016 (and never exhibited)
had seriously deteriorated in storage.
the drawings, which explored the ephemeral
and revealed fascinating shapes of transient
light and heat conditions had completed
their reports and then faded away—
into the obscurities from which
they had been coaxed.
nearly all of them were subsequently
destroyed* but a few were stabilized
and freshly coated and sealed so they
could serve again—this time as nearly
opaque, nearly neutral substrates for
new thermogenic-drawing-based studies
involving manually pierced, scored,
torn and abraded paper surfaces.
these new works were seen as
new vectors for the ideas behind
the dwelling series of drawings
made in the mid-1990s in which
the haptic aspects of making and
experiencing art were extended,
enriched, and ultimately sublimated
by giving equal consideration to
possibilities for pairing sound
with various aesthetic analogues
for elemental visual forms, natural
optical phenomena, and other simple
and complex natural operations.
explorations of the oscillating
image-object continue apace.
__________
CLICK HERE
for information about
the 2019 thermogenic drawing
digital conservation/archival print series.
drawings i had been producing could be
altered and augmented by selectively
applying certain solvent-based paints,
emulsions, and industrial coatings.
by 2021, nearly all of the over two
hundred drawings of this type made
in 2015 and 2016 (and never exhibited)
had seriously deteriorated in storage.
the drawings, which explored the ephemeral
and revealed fascinating shapes of transient
light and heat conditions had completed
their reports and then faded away—
into the obscurities from which
they had been coaxed.
nearly all of them were subsequently
destroyed* but a few were stabilized
and freshly coated and sealed so they
could serve again—this time as nearly
opaque, nearly neutral substrates for
new thermogenic-drawing-based studies
involving manually pierced, scored,
torn and abraded paper surfaces.
these new works were seen as
new vectors for the ideas behind
the dwelling series of drawings
made in the mid-1990s in which
the haptic aspects of making and
experiencing art were extended,
enriched, and ultimately sublimated
by giving equal consideration to
possibilities for pairing sound
with various aesthetic analogues
for elemental visual forms, natural
optical phenomena, and other simple
and complex natural operations.
explorations of the oscillating
image-object continue apace.
__________
CLICK HERE
for information about
the 2019 thermogenic drawing
digital conservation/archival print series.
home studio (northwood, iowa)
