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  • Writer's pictureRaúl Villaseñor Gómez

PROJECT DEVELOPMENT: PAPER TIGER 4


As of May of this year, I was clear about two types of pieces that I wanted to develop. After a whole first part of the year developing a visual language and experimenting, I was able to conclude with something I wanted to produce. These pieces, called "introductory" - I did so in the last article - are the first part of the project. I established that each part of it claims its own name, although each stage is related to the previous one or to the general production process, they explore aspects that claim a name in their own right. That said, this first part is called “Image Processing”.


Of the stencils that I had made as a test, this time I made thirty with a dynamic of cutting fifteen pieces of each one. This was not completely random, I made a rule that no space could touch another, I wanted each stencil to have fifteen cutouts inside it.

Later, on a print of the same image, I used spray paint to make visible those fragments that were missing from the original image. The objective of this action was to link both things, the stencil and its printing, but at the same time to differentiate them, since they were constituted as two different things, even though they had started from the same image. In the process of a work, relationships are created that often imply a before and after, that is generally not seen when the work is finished and for me it is important to give visibility to that. In that sense, the pieces that arise from this are procedural, that is, the steps to produce something are at the center of the work, what is shown.

In that sense, the second work follows the same principle, but with a variant, I establish the dynamics to follow, but I do not control the final result. With the thirty stencils that I made, I arranged a table of ten by ten –like the multiplication ones- where on three of the four sides there are ten stencils. What followed next is that in each frame three specific types of stencils are crossed to be randomly combined. At the end of the process, there are a hundred different combinations resulting from a hundred crosses between the stencils.


None of the images that emerged were controlled by me, except for the principle of crosses between the stencils that I previously established, removing that the results were random.

No idea, in my experience, passes unmodified in the production process. It is rare that the works remain as "they were in the head" of the artist. The works are the product of work, trial and error, multiple iterations; In addition to that, the process, and the resulting work, is full of unconscious elements that are out of our control, but are integrated into the final result because they are also part of us. It must be said that many times, thanks to these unforeseen parts, many people can connect with our work.


I have finished these first two pieces, I am satisfied and enthusiastic; I'm the kind of artist who likes to lay down the process and see it through to the end because I find the result to be more authentic that way. I don't usually change the development of the work just because it's not turning out the way I want, for me those possibilities are explored in pre-production, where you can try whatever comes to mind.

Right now I'm already developing the second phase of the project, I'm testing some final details, but I'm practically in the production phase.


See you in the next post.

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