Michael Dominick
Beacon Hefestus No.1Beacon Hefestus No.2Beacon Hefestus No.3Ramapo Ironborn No.1Ramapo Ironborn No.2Ramapo Ironborn No.3New Haven Autumn No.1New Haven Autumn No.1 (detail)New Haven Autumn No.2New Haven Autumn No.3Robert's Birthday No. 1Robert's Birthday No.2Roberts Birthday No.3Robert's Birthday No.4The Last Binghamton Diptych - for Jim StarkWork!
Discovery No. 1Discovery No. 2Discovery No. 3Ramapo Grey No. 1Ramapo Grey No. 2Ramapo Grey No. 3Binghamton Quadric with Gold LeafRamapo No.1 
(in a private collection)Ramapo No.1 (detail)Ramapo No.2Ramapo No.3Ramapo No.4Yale No. 1 with GoldYale No. 2 with GoldNor' Easter No.1Nor' Easter No.2Nor' Easter No.3Dumbo TriptychTrenton #1Trenton #2
(in a private collection)Trenton #3Binghamton #1 
(in a private collection)Binghamton #2 (in a corporate collection)Binghamton #3Georgia State University #1Georgia State University #2Georgia State University #4Georgia State University #5
(in a private collection)Georgia State University #6Dragon's Breath (the day after creation)Dragon's BreathKiss My Action! at WORK GalleryKiss My Action! at WORK GalleryKiss My Action! at WORK GalleryKiss My Action! at WORK GalleryBlue No.1Blue No.2Blue No. 3Blue No. 4Blue No. 5Blue No. 6White Oil No. 1White Oil No. 2White Oil No. 3Untitled No. 004Untitled No. 005Untitled No. 006
(in a private collection)Zen and the Art of Liquid Fire (Cream No. 1)Zen and the Art of Liquid Fire (Cream No. 2)Zen and the Art of Liquid Fire (Grey No. 1)Zen and the Art of Liquid Fire (Grey No. 2)Zen and the Art of Liquid Fire (White No.1)Zen and the Art of Liquid Fire (White No.2)Texas Firehouse Diptych No.1
Texas Firehouse Diptych No. 1 (The Creation)April 19, 2008 (Numbers 1 -5)
Paintings
On April 19, 2008 I made the first five paintings with molten iron at William Patterson University. I treat the archival paper with a liquid compound of my own creation making it remarkably resistant to the 2800 degree molten iron. The resulting gestural strokes and splashes, my persuasion of the liquid fire on its collision course with the picture plane, creates beautiful and unpredictable marks that not only scorch the surface but also burn down into the depths of the layered paper and plaster support structure. No two are the same, and each one successfully captures the creative moment in a dynamic, spontaneous and visually compelling manner. The molten iron acts as a mark making tool, not as paint, leaving behind complex, scorched gestures that permanently seal the instant of their making. Each drawing bears the marks of the controlled chaos that brought it into existence.
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