methods

Information for Art Collectors and Technical Reviewers.


 

Below is an overview of Henry’s repertoire of artworks throughout the ages, their method of execution, reference source, and artistic vision. 

 

Repertoire of works; 1990 to present. 

 

Black & White Photography    1990 - 2004​

  • Reference: the view in front of the camera

  • Method: Agfa APX, 40, 100, 400 B&W film shot on camera, film and prints development in Henry’s darkroom.

  • Materials of art piece: Gelatine Silver Halide Prints

  • Vision: A heavy use of composition and tonal work is used and has been so fundamental to Henry’s artistic development.

 

En Plein Air oils and Acrylics     2014 - 2017​

  • Reference: the view in front of the easel

  • Method: Application of oil and acrylic on canvas by brush or pallet knife. 

  • Vision: Interpreting the landscape under the duress of time before light conditions shift. 

 

En Plein Air Watercolours     2017​

  • Reference: the view in front of the easel

  • Method: Brush application of Watercolour and cotton paper. 

  • Vision: Interpreting the landscape under the duress of time before light conditions shift. 

 

Charcoal & Pastel Portraits     2020 to present

  • Reference: the sitter, or , Henry’s own reference image collection, images supplied by commissioners, royalty free images, other photographers images as credited. 

  • Method: classic style pencil work 

  • Vision: to create an uncomplicated serene rendition and interpretation of the sitters characters, with attempts to capture moods and likeness

 

Pastel originals    2017 - present

  • Reference: Henry’s own reference image collection, Henry’s own drone images, 

  • Process: The Pastel Series relies totally on Henry’s own photography. This photography is in digital format. An often lengthy intermediate conceptual stage of preparation is then applied and can take several paths or methods as in a case by case scenario, including digital filters, photoshop type software, pantography, squaring, scaling, traditional cut and glued college photos and traditional drawing. This process can be repeated over and over again as elements are moved and fine tuned, colour swatches are tested in the intent of predicting the finest possible outcome. None, zero,  of this preparation material ends up on the finished pastel.  Henry does not paint on printouts nor on digitally prepared grounds. Every pastel sheet starts blank and it passes through no technological processing nor any digital guidance of any form or type. Every millimetre of drawing or painting on the pastel artwork piece, is done totally by Henry's hand using traditional techniques, and is unique and original. Henry routinely posts work in progress images of the pastels in various stages and these can be accessed through a number of WIP videos on YOUtube. Henry’s Instagram account (https://www.instagram.com/henryfalzon/) is a rich source of back-stage peeps of work-in-progress phases of work. 

  • Method: Application of soft Pastels on paper (often cotton rag archival paper)  without the use of fixative spray.

  • Vision: The pastel series are highly engineered art pieces that are classically and traditionally executed with a varying degree of technological preparation in their conceptual stages. Drone photography for example enables the overhead views (Henry has not yet developed wings). Every element is carefully orchestrated including the use of colour and composition.  The finished work, though it may look photographic may not represent reality. The result is a powerful rendition that is ‘brighter-than-life’ and so pleasing to the eye. 

 

Commissioned Work - past to present

Henry rarely accepts commissioned work, but, such work may use the above methods, and may also use unique situations such as painted murals and this is not covered in this comprehensive list of methods. In rare cases images may be supplied by commissioners where the original artist is giving written consent and is credited in Henry’s work as applicable.