The Muncie Project

  

 

100 Acres Panel I 03/12/2015 acrylic on canvas 20"x26"

 

100 Acres Panel II 03/12/2015 acrylic on canvas 20"x26"

 

100 Acres Panel III 03/12/2015 acrylic on canvas 20"x26"

The Muncie Project

 It all started with an email sent to dad recapping a meeting he had with Jill Vaught from the ARC of Indiana, about a new teaching hotel in Muncie Indiana*.  In the course of that meeting dad shared images of some of Cannon’s art work. Soon after that meeting, Jill sent dad the information about a “call for commissioned art work” to be used in the newly renovated hotel. All the information was forwarded to mom and we had just a few days to consider and prepare Cannon’s proposal.

We started by sharing the proposal with Cannon and getting his interest and input. After discussing the project and going over the materials, Cannon was enthusiastic and ready to move forward. The following is the “Statement of Proposal” from the application.

For the ARC Marriott Muncie Project:

"Cannon propose(s) to create a series of 3 paintings inspired by the Indianapolis Museum of Art’s Virginia B. Fairbanks Art & Nature Park: 100 Acres.  The work will reflect his explorations of the 100 Acres in different seasons. These explorations will be reflected in a collection of photos that will be the reference for the works.  The compositions may be categorized as abstract expressionistic with a very strong visual reference to the subject or inspiration.  

His compositions will be executed in acrylic paints and mediums.  The colors found in the Wood, its seasons and the installations in it are compatible with the color palette selected for the rooms."  

The application was lengthy and included a professional resume, Proposal of Images and Images of recent work. Dad hand delivered the proposal two days before the deadline.

Process

There were many steps in creating the final submission.  There were a lot of experiments to find the right size of canvas and methods. This was Cannon’s first experience in “working big”. He would find the canvass size that would both fit and challenge his range of motion –not too big, not too small, just right. 

 

 

Then there were the experiments, with media, color, texture, tools and techniques that were conducted over the next five months.

* This project is now at The Erskine Green Training Institute  https://www.erskinegreeninstitute.org/  

 

Phoenix and the Turtle 2015

Working Big

Cannon experimented with new paints, equipment (paint rollers) on a very large canvas.  It was quite a stretch for him.  Cannon added a variety of colors, layering the colors in until he was satisfied with the results.

Cannon loads the paint roller with color. Sometimes he picks up more than one color on the roller and lets the roller mix the color directly on the canvas. 

Getting a good stretch. Cannon is challenged to reach all of the canvas with his paint roller.

Below we can see how really large this canvas is.  From time to time as Cannon indicates, the canvas is turned so that another part of it is within his range of motion.

 When Cannon was finished we all discussed the various impressions or images we could see in his expressionistic composition. Daddy could see shapes and strokes that reminded him of William Shakespeare's allegorical poem The Phoenix and the Turtle. Turtle refers to the turtledove not the "shelled reptile". Look closely and you might see wings.

Acrylic  36"x36"

The Phoenix and the Turtle

Let the bird of loudest lay,
On the sole Arabian tree,
Herald sad and trumpet be,
To whose sound chaste wings obey.*

* first stanza William Shakespeare  

Muncie Project August 9 2015

This was our second experiment for the Muncie Project. Staying focused on the inspiration of the 100 Acre Wood at the Indianapolis Museum of Art. Cannon looked at and laid out options for pressing models of tree leaves into the texture of the canvas. 

We also took another look at the wasp's nest that had been one of the "curiosities" of a previous exploration. 

 

Cannon decided on the wasp as the inspiration.   He selected a collection of colors that he saw in the nest and laid down a ground of medium gray with the paint roller.  Then he added some modeling paste to give the surface some texture. When it had dried he added another layer of the neutral gray.

Mom gathered a collection of empty pill bottles to add to the large and small bubble wrap to print the variety of circular patterns on the canvas.  Cannon selected his favorite colors of burnt umber, raw umber and burnt sienna and white highlights. He rolled the colors onto the bubble wrap and then placed and pressed the wrap onto the canvas.  He dipped the open end of the pill bottles into the paint and pressed them onto the canvas.

Preparing the surface with modeling paste.

The hardware store has proved to be a good source for materials and equipment...especially the paint department. We find spreaders, rollers and texture tools there with a variety of handles for grasping and manipulating.

Wily Tulips the First Commission

The staff at Tangram reached out to Cannon to commission an artwork to present to Connie Dillman on the occasion of her retirement. 

Connie Dillman retired in 2015 after a successful 44-year career as a visionary leader in the field of developmental disabilities.

Tangram supports people with disabilities by designing services to meet their specific needs and desires. We assist them to live full, meaningful, and happy lives, at home and as members of their community. Tangram joins with community partners to create inclusive and sustainable solutions to challenges faced by those impacted by disabilities. https://www.thetangramway.org

 

 

Research - before Cannon starts working he collects ideas for his inspiration. In this case he looked at a favorite ceramic piece supplied by her staff, for color clues.  Other ideas came from favorite flowers - overblown tulips looking "mischievous or wily".

Cannon selects his palette of colors for the composition.  He references the ceramic inspiration.

The week before he started painting Cannon spread modeling paste on the canvas and pressed the Tangram logo into the paste to create a hidden image that would be under the painting.

After the modeling paste is dry he removes the shapes from the canvas.

He applies the first layer of color and texture using the larger diameter and textured paint roller.

He pauses from time to time to add different colors and white to form tints and shades.  We are curious how the hidden picture will look. After the background colors and textures are applied Cannon looks at the canvas from all sides and angles and decides which is the top of the canvas before continuing to use smaller and smaller rollers to add smaller areas of texture and color including a hint of metallic gold and bronze paint.  He indicates when the canvas should be turned so that he can more easily reach areas he wants to add color to.

Cannon uses the hair dryer to dry the under painting before adding shapes of color.

Cannon selects the colors for the shapes that will give the impression of the wily tulips.  He looks at the reference images and then points to where the colors should be placed on the canvas. He uses a one inch printing brayer to create the oval and shapes and adds more colors to the composition.

 

 

Cannon uses the large round dry brush to blend colors on the canvass. 

He adds the last details of brush strokes to imply the stems and leaves.  He uses a brush that is stiff with dried paint as a tool. 

Throughout the process Cannon stops now and then for a rest.  We sit back and look while paint dries or while we discuss what the next steps might be, pointing out interesting effects of the roller and brush work.  He returns to the canvas until he decides it is complete. He puts down his tools and looks forward to what is next.