Spot illustrations for Portland Monthly’s March 2012 issue “Hot Breakfast Spots.”
Black and white prints and shirts are available on Society6.
Happy Valentine’s Day!
Making his blog debut, verge speaks to you of 爱.
Ai (愛) is used as a verb (e.g., Wo ai ni, “I love you”) or as a noun, especially in aiqing (愛情), “love” or “romance.” airen (愛人) originally “lover,” or more literally, “love person” is the dominant word for “spouse.”
The center of the traditional chinese character for love (愛) is heart (心), the simplified character 爱 is made only from the surrounding character, meaning “accept,” “feel,” or “perceive.”
Verge is happy to live in Alabama, Australia, California, Florida, Italy, Maryland, Michigan, New York, Ohio, Ontario, Oregon, Puerto Rico, Virginia, and Washington State.
Sometimes a life-sized piano-grilled toy robot wants to share its love so badly it is willing to risk piloting a child’s tricycle in order to bring it to you.
Despite what you may assume from that innocent face, this robot has been around the block. I added the piano key smile in honor of the musical mayhem of Portland’s own Solovox and a round of his flyers. Stumptown Underground included Hot-Wheeling Robot Love in their 8th issue “Everybody do the Robot”, and good: a gallery asked him to announce their first robot_love exhibit.
This is the kind of brilliance that’s possible with two Art Directors; one that designs beautiful promotions for the best talent in town, and one who is seven years old.
My time as a printer at VGKids probably came into play on this piece. I built up the green mother-board background pattern through layers of ink and acrylic washes before stenciling the labyrinth of reflective silver figures. I knew the result would depend on several interlocking process, and documented the different stages of development. Loosely based on the pages of the kama sutra, these robots find a variety of ways to express their physical affections.
10 inch square, 1.75″ deep
acrylic, ink, and spray paint on reclaimed hand-made wood box frame with a protective gloss varnish.
The box-framed surface and underpainting had probably sat in the studio for about a year before finding it’s way back to the easel; as the annual “robot-love” exhibit at good: a gallery was around the corner. I began skething robots as blocky iconic couples, as a skyline, as lovers, composing different positions in illustrator and organizing them into the square.
When I got to a composition I liked, I printed out two copies the size of the physical surface. One print was cut for the silver of the robot bodies and registered to the painting.
Using a light coat of contact adhesive on the back of the stencil, I laid down silver spraypaint.
On the second print I drew out the line work in a way that made the robots positions readable, trapped the silver border, and kept the stencil intact.