“Negotiating between my nature and the nature of my materials, I look at the world,” Darryl Pottorf has said. The artist uses a highly technical approach to amass imagery from his world travels into mixed-media works. Using a technique developed in the early s in the studio of Robert Rauschenberg (whom Pottorf assisted and eventually collaborated with for more than 20 years) Pottorf employs a transfer process that involves scanning his photographs into a computer and printing them onto soluble, film-like material; the images can be transferred to his surface by pressure, resulting in subdued colors and delicate forms. Pottorf likens his original photographs to an underpainting which he then layers with pigment. Within his visually provocative imagery, Pottorf has captured Buddhist monks in prayer, the souks in Morocco, and suburban backyards, all with his astute eye for classical architecture and forms.
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As an artist my complexity is traveling the world. I approach them like a potential canvas relating to the culture of the adventured, leading to the lessons of “Chiaroscuro”. Light and dark go beyond color but are essential in the composition and drawing the viewers’ eye around the painting with getting caught in the aspect of the piece.
I had a great love of architecture and interest in books on ancient art; Egyptian and the 18th, 19th centuries, Etruscan art, sculpture as well as Greek and the Italian Renaissance.
I lived, worked and studied in Florence for weeks, months, years, Florence became my home and was a grand influence on me personally and as an artist. In I became Dr. Licht’s research assistant for his book on Goya: The influence of modern temper on art. Goya was recognized as the bridge between Romanticism and Modernism. I was also an artist for archeological digs, documenting objects that had been buried and lost
Darryl Pottorf was born in Cincinnati, Ohio, in At 14 years of age, he moved to Fort Myers, where his father became one of the most influential building contractors. In the summer of , he travelled to Europe for the first time, staying mainly in Florence, a city he returned to four years later, but this time as part of a special study programme organised by Florida State University. He used the libraries of Harvard and Stanford universities in Florence to study the history of architecture in the Etruscan ruins, travelling frequently to other parts of Old Europe, accumulating a cultural baggage and a repertoire of forms that were the start of his own personal iconography. He was assistant to Dr Fred Licht, a prestigious art historian who was working on his book Goya: the Origins of the Modern Temper at that time. In , back in Florida, he found work as a set designer for a group called Theater Associates, at the Arcade Theater in Fort Myers. His first commission was a production of Kurt Weill’s musical Lady in the Dark. Impressed with his work, the theatre took him on as a set designer. In he took a course in engraving and printing at Edison Community College. One of his teachers,
Darryl Pottorf
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