Ceramic Art of Gary Molitor: Two Dimensional Work

Art site of Gary Molitor: Bay Area, California Sculpture, Art Ceramics, Art Cups, Drawings, Sci-Fi 3D Computer Art, Personal Life Stories, Sci-Fi Adventure Stories and Loads of Art Links.

“Drawing — Book 4, Page 726”, 1989/1999
12.25" x 17" Digital Geclee print on paper
This print was made from a digital scan of drawing #726 from my sketch book # 4. These drawings span a period of over 30 years, starting in 1971, representing over 600 individual drawings.
After scanning the drawing, the image was manipulated to create the color. Every RGB (red/green/blue) scan contains hidden colors. By using 'paint' software like Adobe's "PhotoShop" or Corel's Photopaint, these colors can be revealed and manipulated.
After the digital manipulation is complete a limited print run of ten signed prints is produced using the latest high resolution "Geclee" (a fancy way to say 'inkjet') print process. The inks used are light fast and permanent up to 200 years

“Drawing — Book 5, Page 855”, 1994/1999
12.25" x 17" Digital Geclee print on paper
These drawings are used in the model build for the “Tasux Tæ Bazoüde” series. Most have a basis in a low amplitude sine wave geometry. Then view from the side they are asymmetrical, however when view from the front or back they are symmetrical. This general form gives the appearance of a biomprphic form. For specific examples see Clay Sculpture.

“Virtual Sculpture, #1”, 1999
CGI, electronic image
This is from a series of CGI virtual sculptures. This is an on going project. There will be no attempt to recreate this forms in real space. They exist as electronic images.

“Implosion”, 1997 (from the story "“Tasux Tæ Bazoüde”)
Digital Geclee print on paper
This is the result of a malfunction in the Gravity Well Accelerator control. As occasionally happens when a Scizentheens ship is exiting a DMS Gate, a small moment in time collapses causing the space around it to also collapse. A Gravity Well Accelerator can stop the collapse. If the control fails there is a very loud sucking sound.

“Pælo's Warp Ship Over The Desert Planet Ahmun”, 1996
(from the story “Tasux Tæ Bazoüde”)
Digital Geclee print on paper (one of six)
This is a short computer animation using, of all things, Pixar's "Typestry 2". I love this little program. It is so simple to use and does so much. I have looked at most of the the 3D drawing programs, and have found nothing under $500 that will do what I want — for $3000 yes. None have been designed to work the way clay or metal works.

“Baghdad by the Bay”, 1995, 72"x 56".
Woodblock style computer printed on vinyl (one of four)
From 1972 until 1992 I did very little 2D freehand mountable work. Most of the 2D work was photography, notebook drawings and scrap book pasteings. Then in 1989 I started doing computer graphics.
This image was computer printed on reinforced vinyl banner material, using a Vutec supper wide format printer, by Impact Imaging. Triangle Coatings, at that time, how Triangle Digital makes ink used to print this image. From 1988 to 2003, I worked for Triangle Coatings as their Danacolors product Manager and Communications Coordinator. Danacolors product line consisted of artist oils and bulletin enamels. These paint products where used by artists for outdoor billboard pictorial painting. Unfortunately for both me and hundreds of artists, hand painted billboard images have been replaced by the large format digital printers.

“Study for Paint-X in Color” 1993
Ink on paper
Both this and the black and white series started in 1992 and are ongoing today.This one is from a group of studies based on the “Paint-X in Black and White” series. In some cases there is a black and whit version one one side of the canvas and a color version on the reverse side. These canvases can either be hung on a wall or have a support that allows them to be free standing.

“Study for Paint-X in Black & White”1992
Ink on paper
One of a number of studies done for larger hand painted versions on 6' x 6' or larger canvas stretched in a steel frame. Each separate dot is placed by hand, a very long, methodical and meditative process. These paintings are explorations of Renaissance and Baroque art theory about apparent 3-dimensional reality, perspective and pictorial space. The forms are based upon ones I explored in the production of the 1976 Delixie show .

“Jallow's Decent”, 1972, 8"x 6".
Pen and ink on paper:
During this period of my life I was reading every metaphysical book I could get my hands on. I joined the Rosicrucian Order and belonged to the ARE, (the Edgar Casey Foundation). I was doing Kundalini (breath of fire) yoga with Yogi Bhajan, doing meditating at 3:30 AM, seeing Betty Bethards and Gavin Arthur and dropping Acid with vegetarian longhairs out in Loganitus . I saw every rock group I could at the Fillmore/Winterland; Janis Joplin, Jimi Hendrix, Butterfield Blues Band, The Jefferson Airplane, Cream, The Chambers Bros. Blue Cheer, The Electric Flag, CSNY, QuickSilver Messenger Service, Rolling Stones. So many names, so long ago – everything is different, 'cept the cheese! And if you haven't seen the ad for California cheese , you don't have any idea of that I'm talking about.

“Psychedelic Reaction to 'Sharks Dream”, 1968, 20"x 30".
Water color and graphite pencil on paper.
"Shark's Dream" is a painting by William T. Wiley done in the late 60's. I had a show at the Dilexi in May of 1967 showing a series of environmental pieces, one of which can be seen in slide number one on the Sculpture page. I had started to teach at the University of Cal at Davis with Bob Arneson, Clayton Bailey, William T. Wiley, Wayne Thiebaud, Roy DeForest and Manuel Neri. Some of the hot students that were there then were Bruce Nauman, Chris Unterseher, Gerald Walburg and Steve Kaltenbac. Peter VandenBerge was there the year before but took a job at San Francisco State.

“Bridge Street Over Water”, 1967, 10" x 15".
Oil pastel, graphite and colored pencil on paper with college elements.
During this period, two years out of the Masters of Art program at San Francisco State U., I was still very much immersed in Abstract Expressionism. During my undergraduate work both Peter Voulkos and Aaron R. Mosley influenced my work — Aaron's use of line is evident in this work and Peter's raw directness toward clay can be seen in the first two images on the cups page. During this time my primary interests were art, women and small sports cars — in that order. The title for this drawing is based on names of two women I had interest in from that time.