Carolyn Lavender

Probably 1 (installation view), 2005  gouache, graphite, acrylic on rag board. 87 x 160" (50 units) Eye Lounge Contemporary Artspace, Phoenix 2005

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 1, 2005  gouache, graphite, acrylic on rag board. 87 x 160" (50 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 1 (detail), 2005  gouache, graphite, acrylic on rag board. 87 x 160" (50 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 2, 2005  gouache, graphite, acrylic on paper. 44 x 72" (60 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 2, 2005  gouache, graphite, acrylic on paper. 44 x 72" (60 units). Installation shot in studio.

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 2 (detail), 2005  gouache, graphite, acrylic on paper. 44 x 72" (60 units)

The random formula combines repeated pre-determined elements and variable design choices, that were determined by shuffling a marked set of cards. There are four layers of overlapping grids of different scale. With each step a pie shaped section of the clock face, and two random squares, were selected and not worked further. The random small grey squares covered intersection points of the overall grid, except for already saved areas. The panels are in the order of completion and demonstrate a sense of time, which is reinforced by the use of a simplified clock face. 

Probably 3, 2006  gouache on paper. 28 x 31"

This piece incorporates the use of random formulas. I pre-determined what the abstract elements would be, but the choices were made by shuffling a marked deck of cards. The same steps were applied to each section. They were installed in the order of completion. The piece demonstrates a sense of time, which is reinforced by the use of a simplified clock face.

Probably 4, 2006  gouache on paper. 16 x 24"

This piece incorporates the use of random formulas. I pre-determined what the abstract elements would be, but the choices were made by shuffling a marked deck of cards. The same steps are applied to each section, but in this piece each square has one more step than the last one. They are installed in the order of completion. The piece demonstrates a sense of time, which is reinforced by the use of a simplified clock face.

Again, 2004  100' paper gum chain, aluminum tubes, graphite drawing on paper. 30 x 40"

Again, a 100-foot long gum wrapper chain, hangs next to a related graphite drawing. Made from folded paper gum wrappers, it replicates one that I made at 13. When a friend admired a small start I told her I would gift it to her, which happened a year later, when the chain was 100 feet in length. Because I don’t chew gum, I scavenged and got donations from friends. I gave this gift knowing it unlikely that someone would really want such a thing, and indeed it was later discarded. In the late 90’s I decided to start another chain and asked students to bring their gum wrappers. The first chain was colored, but now most wrappers are white in the center and the color does not show after folding. Any colored wrappers were folded inside out for consistency. When the new chain was finished, I hung it and drew the cast shadow to reference the original. 

Father/Daughter Collaboration 1, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 2, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 3, 2003  graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 4, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 5, 2003  graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 6, 2003  graphite, acrylic on wood. 6 x 4"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 9, 2003  gouache, graphite, acrylic on wood. 5 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 1, 2003  gouache, graphite, acrylic on wood. 6 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 12, 2003  gouache, graphite, acrylic on wood. 5 x 9"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 13, 2003  ink, acrylic on wood. 8 x 8"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 14, 2003  gouache, graphite, acrylic on wood. 8 x 13"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.

Father/Daughter Collaboration 15, 2004  gouache, graphite, acrylic on wood. 8 x 6"

The Father/Daughter Collaboration works are made on small pieces of wood from the workshop of my father after his death. It is not a true collaboration, but a tribute to his influence. My Dad, an Industrial Arts instructor, and had drafting tools and templates sitting around the house. I also observed him building things, including the house I grew up in. The paintings are painted in steps separated by translucent layers of acrylic that allow the wood to remain visible. There is also a similarity to the way tree rings record time.