Peter Sheesley, Global Ballet

I started grinding my own oil paint. Process and unpredictability. The paintings started as ink drawings of ballerinas in slums. Those were scanned into the computer and painted in photoshop. Those were printed and glued to boards. As I finished mixing new colors of paint I'd put a new skin of oily pigment on each board. Patiently, I'd wait for the last layer to dry. Palette knife, brush, razor blade, carboard, powder. The best parts of the process are the surprises that materialize, discovering one is finished, and finding meaning in the poetic process of naming them. They are all 6x6 inches, oil on inkjet print on paper, on board, and made in 2007.

Global Ballet I started grinding my own oil paint. Process and unpredictability. The paintings started as ink drawings of ballerinas in slums. Those were scanned into the computer and painted in photoshop. Those were printed and glued to boards. As I finished mixing new colors of paint I'd put a new skin of oily pigment on each board. Patiently, I'd wait for the last layer to dry. Palette knife, brush, razor blade, carboard, powder. The best parts of the process are the surprises that materialize, discovering one is finished, and finding meaning in the poetic process of naming them. They are all 6x6 inches, oil on inkjet print on paper, on board, and made in 2007.
Open Boat	In the Morning	The Plan for the Future
Long Run	Memory	That's Funny
From Birth to Blanched Hair	Way Love	This is the Day
	Deception
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