DZine Gallery - opening reception
PD-LCP0014.03 - MOON LIGHT
PD-LCP0014.01 - FLUID
PD-LCP0014.02 - FLOOD
cut paper ready for mounting
PD-LCP0014.01 & .02
PROCESS DRAWING: digitally generated pattern; hand-cut paper
PROCESS DRAWING: digitally generated pattern; hand-cut watercolor paper 22"x30"
Love patterns, hate repetition. Finished work is a hand-cut paper pattern, the process that leads to it is quite lengthy. Initially, I make a virtual model, I work on it to the extent of my liking; then I render it in the 3d computer software; then I print it out on paper; then I cut into it and make a stencil; then I use this stencil to make the final pattern which would then go onto the final heavy weight paper. Paper is hand-cut with an exacto knife.
PD-HCP0014.0x - is an abbreviation and stands for: process drawing - hand-cut paper;
PD-LCP0015.0x - is an abbreviation and stands for: process drawing - laser cut paper
2015.07.31_ on patterns
I’ve always been intrigued by patterns, especially patterns which have no repetition and yet still qualify as patterns. Patterns our eye can easily pick out and not tire from. It is a challenge and great fun to create a certain visual pattern language which is easy and complex at the same time. Digital patterns are especially intriguing to me. There are many variables including the hand manipulation. Once in the digital world, there is a sense of no boundary, no bounds, freedom of creation actively lost in the immense possibilities of the virtual world. It is the eye candy and constant race. It is the new abstraction deeply rooted in the digital of the everyday. In my patterns I try to stay as non-objective as possible. I try to self-reference, find reference within the already created to create yet more. Are these water drops, or ancient cuneiform writings? Are these flowers releasing pollen into the unknown and picked up by the wind? Constantly experimenting with shape while staying true to the selected visual method. It is important for me to stay experimental in my work, always to push on the boundaries. Digital allows for a very rigid control of the outcome because one can tirelessly change and manipulate the same entity. I feel as though working by hand such as drawing, painting, even making paper cut artwork allows for a greater chance of an unplanned yet successful accidental mark. Sometimes it feels as though the process is endless and thus it drags you in even more. I call these pieces process drawings, because they are very process driven. Each one has a name which contains digits to allude to their digital nature; they are also part of the same poetic series and thus also contain a word in their title: PD-LCP0015.01.FLUID, PD-LCP0015.02.FLOOD, PD-LCP0015.03.MOON LIGHT. It is an exercise for in between the intelligent somewhat abstracted yet formal patterning.
Do we like patterns because we feel comfortable in the predictability of the repetition? Patterns sometimes offer to us a new way of thinking, a new vision which could easily be followed through. Patterns are catchy and offer an opportunity of being taken and re-inserted elsewhere.
I make majority of the patterns in 3d. It's the virtual world of digital imaging that can consume me for hours at a time! I never tire to model and creativity just so easily flows.
- i like to think of the patterns i make less as a decorative repetitive elements but more as method expression. Where flow, scale of elements are used to convey an underlying concept or an idea.
- landscapes: their growth is organic, tropical, where nature is taking over in a forceful, yet elemental way
- w/ a figure present: like the Venus of Milo, arm-less, hunched a bit forward
- constructed reality where parts of visual elements become part of the body, and give rise to new elements. That for me is the essence of making pattern. My pattern here is a-chromatic, there essentially chroma that comes only from the background, from the stain of the wood behind. Paper is floated and the deep red cabernet of the wood stain, seems even darker because it is shadow.
- The way the paper is floated a new dimension is give rise. paper of the artwork is flat, they cuts performed onto it are two dimensional, there are few perspectival allusions, yet the work seems to have depth, i've seen people come so close to look inside the art, I could almost feel them sniffing and tasting it :)
- for me it is a new abstraction that is deeply rooted in the digital of the everyday, and magic of the shape, style, exerted control
- few of the elements indicate machinic repetition like the dotted lines; they are like stitching on embroidery
- paper cuts whether with lasor or x-acto knife are like precise incisions exact and unforgiving