Palmarin Merges
Artist
Portfolio
The white house
2004
Lithograph 1/1
11 ½” x 171/8”
Using the same 15 or so plates I printed the layers all in the same color of transparent white and let the layers of each successive plate themselves ‘build’ the structure.
Gated
2005
Lithograph 1/1
111/8” x 17 ¾”
Many of the images get titled when the layers are sufficiently built up enough to suggest a shape or form.
untitled
2004
Lithograph 1/1
11 ½” x 171/8”
In the same way that painters re-use a canvas, I took the previously unresolved rectangular cream image in the bottom right and made it a point of departure for ‘untitled’.
Backyard Tent - State 2
2004
Lithograph 1/1
12 5/8” x 17½”
The state here shows ‘Backyard Tent’ one step from completion. The completed image of Backyard Tent is at the San Francisco Artists Gallery.
a flash of memory
2004
Lithograph with mylar overlay 1/1
11 ¼” x 19 ¼”
We may see the same things but how you express it will be very different from the way I would express that same object. How you remember an event and how I remember it are also different. Memory is best in flashes, short and sweet. The large skewed rectangle is in several prints meant to be a flash for you of having looked at the other images in this series.
barred
2004
Lithograph 1/1
111/8” x 17 ¾”
These images were built using similar plates printed in a variety of transparent black and white layers.
Storefront Window
2005
Lithograph 1/1
17½” x 11 5/8”
At the start of this piece, I would just print and print over it. Once enough layers were laid down, I was able to see a direction for it. And when I felt it was finished, it reminded me of what you might see in a storefront window along a busy street.
Statement »
The white house
2004
Lithograph 1/1
11 ½” x 171/8”
Using the same 15 or so plates I printed the layers all in the same color of transparent white and let the layers of each successive plate themselves ‘build’ the structure.
Fakitecture
Beauty and rhythm present themselves in the repetition of forms: the interplay of light and shadow within a recognizable space, under stairs or within a building under construction. It is my curiosity of how light, shadow and shape coalesce into patterns and form other structures that drives this body of work.
A structure's recognizable form is exploded, reassembled and created anew by layering different drawings and lithographs often times using the same plates with varying degrees of transparency of black and white ink. The rhythm of repeating forms hint at a loose order built upon layers of randomly placed structures. The building's physical form, light and shadow are incorporated into lithographs to create fantastic combinations that I call 'Fakitecture'.