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Dream Machines
From The Times: The Acadian's Weekly Newspaper, May 2005
Patricia Gannon
She’s grown used to gallery goers approaching her husband as the artist behind the oil-painted canvasses of sensuous pipes, chrome and car hoods, motorcycles, mannequins and Ferrari steering wheels. Her collections of smaller work celebrate silvery hubcaps and hood ornaments, gas caps and sporty gearshifts and the occasional ignition with keys or rearview mirror, all unified by Lockwood’s luxurious use of color and languid reflections. Characterized by curves that betray femininity she can’t entirely hide, her abstract-realistic paintings transfix men and enervate women, revving the public with a psychological message of power, danger and more than a little underlying eroticism.
Take Cool Pipes for instance, an undulation of warm orange and cool blue chrome, or the tans and violets of Partly Cloudy at Daytona. Porsche & Palms and Reflections of a Biker Chick need no explanation, particularly to the testosterone crowd.
Slick and technically polished on the surface, there’s a lot more under the artistic hood then most realize.
“They (the vehicles) are about passions and dreams,” says the New Orleans-based artist. “What I’m trying to depict is desire. People want things — it’s what motivates us to do things in life. There’s a real philosophical basis for the paintings.”
The cars and motorcycles also represent a long road trip for Lockwood herself, one that began with an art degree from Tulane and a master’s from Vermont College, with a side trip to the New Orleans Academy of Fine Arts.
“I knew flowered still life wasn’t for me,” recalls Lockwood. “But I enjoyed painting the reflections in the cups and bowls. One day, I was in a photography class and took a picture of a tree, then turned around and saw the tree distorted in the chrome of a car. I took the photo back to school and everyone went nuts.”
Lockwood, who recently displayed her work at Galerie Lafayette, quickly fell in love with the chrome and reflections of New Orleans cars, but they weren’t always easy to locate. She decided to take her camera to the Harley-Davidson shop.
“I thought they were beautiful,” she says. “Choppers are rolling sculptures, even their builders see themselves as artists.”
While heavily influenced by the photo-realism of Tom Blackwell, Audrey Flack and New Orleanian Adrian Deckbar, the demise of a difficult marriage is reflected in the chrome of her cars. Works like Bikes and Babes and those featuring mannequins pose political questions of gender and passivity, while admittedly serving as vehicles for the artist’s own angst.
Lockwood’s painting process begins with finding the image, something that’s often easier said than done.
“You have to go to Bike Week, set up photo shoots and take lots and lots of pictures,” she explains. “I love the framing and shooting, and now I’ve gone digital, so I can take hundreds more.”
Once she finds the images she wants, Lockwood does an image crop —a step that renders the image abstract — then projects it onto canvas. Lockwood defends her use of machinery to paint machinery, saying that while she could draw into the painting, she chooses not to.
“I find the camera’s line more ‘feeling,’” she says.
“Then, it’s about layer after layer of painting with oil. It’s time consuming, and there’s no way to do it faster. I listen to lots of books on tape,” she laughs.
The wire wheel on a car takes two weeks to paint. Lockwood calls her use of oil paint and turpentine traditional, and she eschews new mediums, preferring to paint her cars to last.
And while her nearly all-male clientele may see their need for speed and desires reflected in Lockwood’s fantasy chrome, her passion is for the painting and what her power objects reflect about others, both men and women. Photo-realism aside, it’s often not about reality at all, she says, but the spectacle. Any erotic sensation is purely incidental, she maintains.
“It’s just the way the paint comes out,” she smiles. “Me? I just want to get in the car and have it work in the morning.”
Giclees – the new collectible art form
From Gallery Insider, Winter 2005
Lory Lockwood
Giclee printing is the newest kid on the block. The term giclee (pronounced “zhee clay,” is French for splattered or sprayed ink. It describes the process of ink squirting out of the nozzles of an ink jet printer. However, it is not just any printer, ink or paper. Giclee printing is an archival process using only high-level printers, pigmented inks and high quality paper—preferably acid free, 100% rag paper or cotton canvas. A perfectly executed digital print is the result.
Artists have embraced this new technology. For them, it offers an opportunity to reproduce their images in a completely new art form – more affordable, in varying sizes and on paper or canvas. It gives them a chance to share their images with more people as the new price points make these prints now quite available. According to The Wall Street Journal, “Advocates say the technological development democratizes the market place for fine art, allowing consumers who cannot afford the real thing to buy something that seems awfully close” (“When Art Imitates Art: The Giclee Debate,” Anne Marie Chaker, July 21, 2004).
The giclee printing process has allowed artists to trade in the printing press for computer. This process presents the opportunity to make a very high quality, archival print that can be made one at a time on demand—no longer the commitment to long and costly print runs. And archival in the giclee world these days means at least 100 years. The giclee process also is better at capturing details than traditional processes.
About the process
There is quite a bit of set up work, equipment to buy or outsource to a reputable lab or technician, and an expert knowledge of Adobe Photoshop and color management needed by anyone producing giclee prints. First of all, the process usually requires a photographer’s 4 x 5” transparency, which then has to be professionally drum scanned thus digitizing the negative. Then the image goes to the computer screen where a professional knowledge of color control and exhaustive patience is required to make the image print ready. Finally, a test proof is run to see how close the print is to the original, and then more tests and more tests.
It can be very time consuming and expensive as the tests can only be made on the archival canvas or paper on which the giclee will be printed. Computers, printers and different kinds of paper all add a number of variables making the process very complicated. But persistence does bring rewards, and once the perfect color match is determined for the designated paper and printer, giclees can be made one at a time in variable sizes. Finally, if so desired, the artist can then by hand, “enhance” the print with a brushstroke to give texture or “remarque” with paint and mixed media to add line and additional color.
As a collector– why would you want to buy a giclee?
As mentioned earlier, giclees have “democratized” the art market. Now as a collector, if you want to purchase an artist’s work but don’t want to pay the price of an original, a giclee print might be just the answer. Additionally, if the image that you desire is sold, a giclee would be a great substitute.
For example, if the size of an original is too big for your living space, a giclee would be perfect. You might also prefer a work on paper rather than on canvas. Also, newlyweds, first- time or younger collectors, those on a budget, or possibly even those looking for presents—friends, kids, and even adult children—are great candidates for a giclee purchase. Hotel and bar owners and other businesses might want the look of an original artwork but not want to risk displaying one in public areas. People needing multiples of the same image could also purchase giclees.
And the quality is high. On canvas particularly, the giclee process gives the impression of a real painting. Giclee prints are nothing like posters or large run offset lithographs. They are works of art themselves and are now widely sold, even grossing high profits in the secondary market, according to The Wall Street Journal.
What should you be aware of in purchasing a giclee print?
First of all, always use a reputable dealer or artist who can provide a certificate of authenticity upon request. This will define all the specifications of the print including title, artist, edition details and limits, sizes and media. This certificate will document and protect your investment but be aware that the artist always retains the copyright on the image.
Secondly, remember that a fine art quality giclee print should be printed on acid free, 100% rag paper or cotton canvas with pigmented archival inks. Thirdly, always note whether the edition is specified as a limited edition.
Lastly, you should ask a lot of questions. What kind of paper or canvas was used? Was it acid free, 100% rag paper? What kind of printer was used? What kind of inks? Is the entire process archival? And have them explain how. You can even ask to feel the paper. Is it a signed, limited edition? Is it a remarque? Has it been enhanced? Was it sprayed with a water-resistant UV spray or canvas varnish? If the answers to these questions are not definitive and reassuring, go somewhere else.
What does all the writing on the print mean? How do you determine prices?
Artists sign, title and indicate the specific number of a limited edition. These specifics determine the value of the print. A small limited edition (500 or fewer) will tell you the amount of images included in the edition and the number of this particular print – for example, 25/350 would be No. 25 in an edition run of 350. Since digital prints are identical, any number in a digital print run should be as valuable as another. If a print is not signed or titled and there is no mention of an edition – the value will be less as they are more like posters. An A/P (artist’s proof) has traditionally been more valuable. T/P (test or trial proof) or P/P (printer’s proof) are other marks which indicate less value than the regular edition.
On paper, the writing should be in pencil and on the front of the paper under the image. On canvas it should be in permanent pilot marker and is usually on the front to distinguish itself from the original. Canvas editions are usually much smaller as in 10/50 and as in an oil painting, the title is not written on the front but may be included on the back. If the piece is a remarque or is enhanced, the price will be higher.
Generally, giclee prices will be quite a bit more expensive than a poster print, but substantially less than the original oil painting. Prices will vary depending on the type of print, the size of the edition, the actual size of the print, whether it is paper or canvas and the artist’s reputation. The advantage to buying a giclee is that there are multiple price points and so the collector can really control the cost by the choices made.
Giclee printing is here to stay. It is the new collectible art form. It offers exciting possibilities for artists and great opportunities for collectors as a new archival art form. Artists are producing them and galleries are jumping in to this new market. And to be sure, whatever developments we have up to now, the possibilities for artistic creativity and high quality giclee print ing will just get better and better.