Opening reception - Saturday, January 7th, 6pm-9pm
January 7, 2006
through February 4, 2006
On View January 7th - February 4th, 2006
Opening Reception Saturday January 7th, 2006 from 6 p.m - 9 p.m.
For Sweet Victory Ray Caesar redefines possibility and pushes the boundaries of digital art, moving away from multiples to create completely innovative digital artworks. Caesar experiments with new techniques and materials on a larger scale, applying each one-of-a-kind digital ultrachrome and acrylic medium print on wood panel with varnish. Combining themes of hope, birth, and victory of the human soul, Caesar parlays the spiritual nature of his art.
Sweet Victory embodies mysteries of birth and rebirth—the core of art and creation. Caesar conveys hope in spite of a world filled with destruction. Although children are the dominant subjects of his works, Caesar “paints” pictures of the human soul—“that alluring image of the hidden part of ourselves.”
First sculpting models in a three dimensional software called Maya, Caesar then wraps the figures and backgrounds in manipulated texture maps. This malleable digital process involves elements of childhood nostalgia for Caesar, who recalls sculpting dolls with placticene, hence the bulbous figurative heads. Casting digital lights, shadows, and reflections, Caesar accomplishes a baffling realism. A collector of textiles and keen observer of textures, Caesar photographs, scans and manipulates swatches of fabrics or skin surfaces in and transposes those onto the digital skeleton models.
Born in London in 1958 Ray Caesar is currently a resident of Toronto, Canada, where he lives with his wife. He studied at the Ontario College of Art and worked as a medical artist for The Hospital for Sick Children in Toronto for seventeen years prior to his position as a Senior Animator at GVFX Toronto. Caesar is the recipient of a several awards and recognitions including Monitor Award for Special Effects in a series, a Primetime Emmy Nomination for Outstanding Special Effects in a Series, and a Gemini Nomination for Special Effects. His work has been published in numerous publications, including Juxtapoz, WeAr Fashion, EFX Art and Design, Digital Media World 2004 Australia, Computer Graphics World, New CG China, and Glamour Magazine, to name a few.
Technical and Archival information for all New Works
Each image is printed on a Epson 7600 using Ultrachrome pigmented 7 color inkset.
Epson's UltraChrome ink is one of the most important advances made in printing. Achieving superb color expression on a variety of media is made possible by an increase of the density of pigment content in the ink, which also provides for a much wider range of media support. Even with greater pigment density, each particle has an extremely smooth and uniform resin coating, ensuring superbly sharp image reproduction on both specialty media and plain paper along with marked improvements in light and water resistance.
Printed on 500 gms Epson Ultrasmooth Fine art Paper.
This is a extremely heavy weight paper for long term archival purpose and is not only acid, lignin, OBA and chlorine free, it is also pH buffered with calcium carbonate for a true archival sheet. This is truly the best surface I can find to print my images on for long term archival permanence. Ultrachrome pigment on Epson Ultrasmooth is rated in excess of 108* Years before noticeable fading and/or changes in color balance occur and this is increased by application of 4 coats of UVLS varnish which is superior to being under UV glass.
WHY LIGNIN-FREE? Lignins, which are the combined glues that hold plant cells together, are undesirable in a finished paper product. They age poorly, turn brown, become acidic over time, and resist the natural bonding of cellulose fibers to each other. If lignins are not removed and are left in contact with the surrounding cellulose fibers in paper, their acidity will break down the cellulose and the paper will become brittle.
WHY 100% COTTON? Paper is composed of plant cellulose fibers. Cellulose is a polymer of the sugar glucose and is used by plants to produce cell walls. The source of the cellulose fibers, and the degree to which that source is refined, determine the nature and quality of the paper produced. Cotton fiber is up to 10 times stronger than cellulose fibers made from wood, and cotton is naturally acid and lignin free.
WHY ACID-FREE? pH describes the acidity, alkalinity, or neutrality of something. Distilled water has been assigned a pH value of "neutral" 7, which represents equal concentrations of acid and alkali. Each whole number represents a factor of 10-ten times more or less acidic than the number above or below it. The more acidic a paper, the faster the cellulose will break down, resulting in a shorter lifespan. A number of factors can influence the pH of a paper. Residual acids from processing, alum sizing, fillers used to create bulk, oils used to make paper transparent, optical brighteners, atmospheric sulfur dioxide, and the presence of lignins can all result in a pH of 4.5 or lower.
WHY BUFFER THE PAPER? Recent study has shown that even the purest cotton papers will become slightly acidic, even though they left the mill at pH ranging between 6.5 and 7. This may be due to the nature of the paper itself, or because of exposure to air polluted with sulfur dioxide and oxides of nitrogen --common pollutants caused by the burning of fossil fuel, which turn water molecules into sulfuric acid and nitric acid. To cope with the natural and unnatural acidification of paper, some manufacturers add buffers to the paper. Buffers such as calcium carbonate can absorb a significant amount of acid. Buffered papers are often slightly alkaline with a pH around 8.5. A pH moderately higher than 7 is not considered harmful in paper.
WHY OBA-FREE? "OBA" is an acronym for "optical brightening agent". Many paper substrates have optical brighteners added to increase their apparent whiteness. The cellulose fibers comprising paper have a natural yellow color that is bleached during manufacturing, but some slight yellow remains. To counteract this yellow color, a "bluing" agent is added to paper. The bluing agents are actually ultraviolet dyes that work by fluorescing the invisible ultraviolet light into visible light (OB's absorb ultraviolet light and re-emit it as visible blue and violet wavelengths), thereby making the paper to appear brighter or whiter. OB's are known as "fluorescent agents" because they strongly fluoresce under "black light" (a good test to see if a paper has OBA's).
However, many paper makers believe that optical brighteners interfere with permanence, because they can break down over time and can cause irregular yellowing of the paper (or the inkjet coating), or cause acidity in the paper, which can lead to a premature deterioration of the paper structure. In fact, the Library of Congress defines an archival paper to be OBA-free.
The image is then mounted with Acrylic Polymer medium to 6mm panel of Sintra archival plastic.
Sintra is chloride extruded in a homogenous sheet with a low gloss matte finish. It is entirely stable and is a long term archival support that will resist buckling and warping and long-term durability and is a popular support for museum archival photography. The 500gms Ultrasmooth is mounted with the same acrylic polymer medium that provides a surface "isolation coat" to each print thus encasing the image in a protective coating of polymer emulsion.
The sintra panel is then supported from behind on a 1/2 inch sheet non-warping Gatorplast sheet for lightweight rigidity, long term durability and protection.
Two isolation coats of Acrylic polymer emulsion is applied to the top surface of the image
For future conservation and varnish removal purposes I use of two isolation coats prior to varnishing. An isolation coat is a permanent, non-removable coating that serves to physically separate the ink surface from the removable varnish. This will help protect the surface if the varnish is ever removed and make future cleaning and conservation easier to avoid working directly on top of the pigmented part of the work. Therefore, a clear barrier would safely cover the printed surface. It also seals and stabilizes absorbent areas, which will result in a more even application of the varnish.
Four to Five coats of Polymer UVLS ( Ultra Violet Light Stabilizers) Varnish is applied
Polymer Varnish with UVLS (Ultraviolet Light Stabilizers) is a waterborne acrylic polymer varnish that dries to a protective, flexible, dust resistant surface. The UVLS properties of this varnish are enhanced by each additional layer or application.
For archival purposes and conservation the varnish could eventually after many years be removed with ammonia and the underlying image would be protected by the Acrylic Polymer isolation coat.