SKJOLSVIK (pronounced: schols' vik)
"The forms originate from a single calligraphic stroke that has manifested into something entirely different".
      This series began a couple decades ago in Mexico at the Hotel Ancira using cabrito blood bought at the market. Today, they are created with ink using traditional Eastern and Western calligraphic methods. A shift towards larger works has emerged in the past few years. Perhaps a transition or extension from my era of painting large murals and backdrops for rock and roll bands.
 
The non-objective image source gets created systematically in dense repetition. The forms originate from a single calligraphic stroke that has manifested into something entirely different. They may be either independent or combined with another. Some are random and others line up in linear formations that occupy some or all of the field. The inks used typically let transparent layers create their own depth within the given field. The result is a spherical shape or edge to edge coverage made up of an illegible language. A sort of landscape whether psychological or physical may present itself with the linear compositions.
 
The substrate is traditional pure linen over a stretcher or panel. Sized with rabbit skin glue with thin layers of Kozo paper applied and methodically rubbed and smoothed so that the surface is similar to a Japanese screen. It then must sit to completely dry. More burnishing is done before a single sitting of ink is applied.
 
Tools range from purchased calligraphy nibs, flat brushes and wide steel brushes. Using a modified design, I fabricate my own nibs using copper or brass sheets that extend several inches wide. Wide Hake brushes are used to apply the Kozo paper with hot diluted hide and wheat paste. Bone and Teflon folders are used for the burnishing and smoothing of the surface.
 
The titles are based upon feelings, emotions, fears, dreams, actions, directions, delusions or some combination of all of the above. They are developed at the moment of completion.