Deeper analysis of Freed and Traditional painting

A comment has been made to me that my paintings aren’t really free because the paint is still applied to a strength member.  Many of my paintings use a non-absorbent, friction resistant material similar to that used to produce the roof of the Denver, CO airport as the strength member.  Due to the inherent properties of the material, paint does not readily adhere to the strength members.  As long as the strength member remains fully encapsulated within each strand structure, it will provide the supportive strength necessary for the strand to exist in its suspended state for a very long time.  Also, the strength member is encapsulated within the acrylic medium/paint, rendering it  invisible to the viewer.  It is impossible to ignore the fact that a Traditional painting is applied to a picture plane surface.  Freed painting allows single as well as groups of paint strands to exist in a state of suspension in three-dimensional space.  This fundamental shift of moving paint off the two-dimensional picture plane and out into three-dimensional space is a groundbreaking development in the area of Fine Art painting.  Add to that the possibility of producing transparent strands and now you have creative opportunities only available through use of the Freed Painting process.

Some may argue that Traditional Painting allows artists the opportunity to render the illusion of visual depth and that Freed Painting does not.  I would counter by pointing out that by their very nature, existing in three-dimensional space, Freed paintings possess a quality of physical depth that a Traditional painting can never have.  Also, through the use of tonal value and hues, Freed paintings can also render visual depth.

I am not saying that one process is better than the other.  What I am saying is that the Freed Painting process is different and expands the possibilities for artists to express themselves.

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