This article is from the archive of The New York Sun before the launch of its new website in 2022. The Sun has neither altered nor updated such articles but will seek to correct any errors, mis-categorizations or other problems introduced during transfer.
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“The vellum support has been a perfect choice,” explains Tad Wiley regarding his current exhibition, “in that its smooth surface allows the paint to sit right up on top. However the surface is not without ‘tooth’, which traps the more thinned out color in a way reminiscent of the application of tusche on a lithography stone. The translucent cast allows overspills to creep around the back surface and appear on the front in a ‘ghosting’ fashion.”
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