I have worked on the Scene II God sketches and am finding some problems. I had originally planned to make a fiber optically lit area which concentrated in about a 3 foot area dissipating over approximately 5 feet to the left and 6 feet to the right. The problem is that I did not consider placement of the Four Living Creatures or the effect of where the 24 elders would be. The scene is further complicated by the 7 candlesticks or the one candlestick with 7 candles in it.
I had planned to make the light the center focus but to do that, the frame of the wooden canvases (built to hold the fiber optic cables, with doors on the backs). The wooden canvases are being made and will have to be used as originally planned. The key is to shrink the core size of the bulk of the light and make it widely scattered as it comes off the core. Holes will have to be drilled through art which is already completed. There is a big risk to this plan.
I could jeopardize the finished work by drilling through it, or drill first, but then I would have to work around the finished work. That, to me causes far more problems than completing it then drilling. I am considering using the color wheel, pastel fiber optics in the scattered holes away from the core. Then the changing color will take away from the loss of light from not drilling through the frames and decreasing the canvases integrity.
The Four Living Creatures will have so many eyes that pupils and holes will be difficult to distinguish since that part of the painting is up around 10 feet from the viewers direct vision, which is an asset in this section. The drilled holes of light do not actually need to be through the creatures but the effect of “being in God’s light” is important I feel to show that these creatures are a significant part of God as they are with him at his throne.
The 24 elders (priest) are undecided at this time. I am thinking to making them somewhat blurry from the light of God and not detailed, just the likeness of 24 men. The 2nd part of the painting; Truth-The Hemorrhage of Pigs! also poses another problem. With thermochromics, the rule is “the thinner, the better” and with the clear to red it is imperative not to have any thicker areas because it will remain pink. Red is a hard pigment to work with.
To solve this problem, I was thinking about very thin plexiglass since thermochromics have to be replaced (washed off and re-coated) around 1-2 times a year. If the plexiglass was removable, it would be a much simpler task and re=coating would be easier as well. The plexiglass would be thin enough not to add width to the painting and make it seem uniform. I will have to get the plexiglass cut in a custom drip pattern to appear as though blood is running down.
What I imagined to be a simple and fast scene has truly become very complicated. This scene is most likely the most important of the entire painting. It moves and is brightly lit, and it bleeds. I will also be using the crushed rainbow quartz, the glitters of “diamond dust”, hologram and plain white. This scene will need the strongest sealer I can find due to the wear and tear and the elements used to create it. I am always focused on the painting’s ability to withstand the test of time.