Matt Dangler’s Kult des Alchemist Spiegels

by Ken HarmanPosted on

Matt Dangler has taken a step back out of the shadows to give Hi-Fructose an exclusive look at his latest painting: “Kult des Alchemist Spiegels” (Cult of the Alchemist Mirror). Dangler has been hitting the history books, honing and refining new processes and procedures for his work. Check out what he has to say below:

“The last year I have mostly been focusing on the alchemy of my paintings… that is, messing with different mediums and paints to achieve the effects I was looking for. I certainly don’t want to delve into the exact mediums and specific process I’ve come up with, but generally, what I will share is that I’ve studied Art History quite extensively, visited museums, and looked deeply into (mostly) Old Master techniques to find what works best for my paintings. What I found was that Da Vinci, Michelangelo… Vermeer… among others, used layers upon layers of glazing mediums to achieve a depth of color and light that simply can not be accomplished through a single layered opaque painting.”

“Technically, using transparent glazing mediums between the Oil paint layers gives natural light more room to travel in the painting, being that oil paint is translucent, if you get the layers right… natural light will pass through the layers all the way down to the white of the board and bounce back to the viewer’s eye, which gives the paints a glow and much greater depth in color… because the viewer is mixing the colors with their eye, not a flat single opaque layer of paint doing it for them… think of it as layers of stained glass window. On top of the range of light and color that the layering creates… the glazing layers also serve as a lens, gloss will magnify and sharpen details, matte or satin will soften layers.”

“I’ve also been experimenting with “sculpting” through the layers… that is, leaving the background within the first layer, and only painting on each layer closest to the foreground as I add each glaze layer… so for instance, the highlight on the tip of a character’s nose will be the last thing painted, since it’s closest to the viewer. I’ve obviously spent a great deal of time developing this process, and my hopes are that whoever is interested will make sure to see these new paintings in person, as a computer screen completely defeats the purpose, displaying only 1 of the 30 layers or so that was involved creating them.”

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