.jpg?w=1)
拍品专文
By 1961 Lynn's work had reached maturity. Influenced by the work of Tapies and Dubuffet, Lynn was interested in translating the deep natural tones of the earth.
This focus was complimented by new possibilities in materials and in particular of PVA (polyvinyl acetate). "His most representative texture of the 1960s was wrinkled and leather-like. He laid on the support a mixture of PVA with sand or plaster or some other granular filler, and placed the support beneath a heat source - the sun or a radiator. The survace would dry first into a skin which could be cut and penetrated. It could also be prsesed into corrugations and folds as it slipped on its still-fluid base. The surface was then generally covered with shellac, and bathed with black paint. This would in turn be rubbed with methylated spirits, removing most of the black." (P Pinson, Elwynn Lynn Metaphor and Texture, Sydney, 2004, p.44)
This focus was complimented by new possibilities in materials and in particular of PVA (polyvinyl acetate). "His most representative texture of the 1960s was wrinkled and leather-like. He laid on the support a mixture of PVA with sand or plaster or some other granular filler, and placed the support beneath a heat source - the sun or a radiator. The survace would dry first into a skin which could be cut and penetrated. It could also be prsesed into corrugations and folds as it slipped on its still-fluid base. The surface was then generally covered with shellac, and bathed with black paint. This would in turn be rubbed with methylated spirits, removing most of the black." (P Pinson, Elwynn Lynn Metaphor and Texture, Sydney, 2004, p.44)