WellesleyWeston Magazine


Launched in 2005, WellesleyWeston Magazine is a quarterly publication tailored to Wellesley and Weston residents and edited to enrich the experience of living in two of Massachusetts' most desirable communities.

Issue link: https://wellesleywestonmagazine.epubxp.com/i/978308

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Page 151 of 199

With an idea for his creation in mind, Pillsbury sits down, care- fully considers his design options, and begins by making a freehand sketch. Thanks to the technology of 3D software, he can then visual- ize variations without putting knife to paper. He experiments not only with the placement of shapes within the design but also with the orientation of the layers, shifting each layer to add movement and interest. Then, the software allows him to play with the piece's dimen- sionality — which sections should be layered — all without putting knife to paper. "I really have to think about how I am going to construct this to get the effect that I want," he says. While his first ventures into this art style were monochromatic — white on white — Pillsbury now incorporates color. The use of color adds yet another variable to his work and offers an opportunity to make it even more thought provoking. A blue, gray, and white piece zigs and zags to dizzying effect. Columns of navy, light blue, and white waves are staggered into a frothy sea, complete with bubbles. Gray, charcoal, and red latticing with a partly riven seam invites a closer look: Where is it knit together? What's underneath? Pillsbury groups his work into three styles: woven abstractions, geo- metric patterns, and realistic abstractions. Given the amount of prepa- ration he puts into each design, one might think it would be tempting to duplicate a piece. But that's not how Pillsbury works. No two pieces are exactly the same. Besides dimensionality, another constant in his work is the delightful unexpected. Somehow, within his precise geometries, he makes room for playfulness. He'll vary the symmetry with an unexpected pop of color, accent undulating wave forms with frothy bubbles that break free of the pattern or leave a space free from color or texture to let the imagi- nation take over. Once he's planned his design, he superimposes the pattern onto his choice of colorfast, heavyweight archival art papers of varying textures. He pricks the paper at every spot where one line intersects with another. After each intersection is marked, he removes the template and, using an X-Acto knife, connects the dots, freeing the shapes from the paper. He glues each joint for stability — "It's paper, and I want it to last" — and Golden Circles (left) and Lotus Swirl (right) 150 W e l l e s l e y W e s t o n M a g a z i n e | s u m m e r 2 0 1 8 artist profile "he makes room for playfulness"

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