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untitled V (conduit)

Carpet, paper, acrylic and plastic on canvas
untitled V (conduit)

untitled v (conduit) is the fifth work in a seriestitled “conduit”. It also happens to serve as the firstwork in a series titled “parallelogram”, as it sparkedan ongoing investigation with that particular shapein the visual field. The conduit series primarilyfocuses on communicative tensions through languageof domestic electronics.


framed canvas print

Computational physics is a discipline concerned with converting the (frequently) unsolvable equations of physics into a format far more amenable to computation: algorithms of much simpler arithmetic.

*As an artist and student of fluid dynamics, creating my own software has allowed me to create with fluids: to manifest what is ubiquitous yet invisible, to visually manipulate dimensions of space and time, to selectively merge realistic and patently artificial elements, and to de-contextualize fluids into their very essence: motion.

* When fluid flow is freed from the limitations of physical space, the algorithm, in all its malleable beauty, becomes the arbiter of reality.

CF11_1179 began as a field of bands of color, but evolved with no further guidance save the formulae of fluid dynamics into a burst of color and motion characterized by swirls and eddies as large as the entire piece and as small as the eye can see.

Chronology: Presence

Canvas, electronics
Chronology: Presence @COLLISION18:present
Chronology: Presence (detail) @COLLISION18:present

A blank canvas with a small black rectangle in the center is hung on a gallery wall. A wire leads from an outlet to the back of the frame. As the viewer moves closer they notice the black rectange contains digits and the word "Hours". The 1/10 hour place is slowly turning.

This work consists of an hour meter visible on the front. Hidden from the viewer are electronics and a dopplar radar unit. As the viewer comes closer to the piece, it senses their presense and starts counting on the hour meter. The hour meter hows the total time viewers have been looking at the piece. This thus refrences both time and context in one package. 


LEDs, paint, sand on canvas; custom electronics and software
Artwork by [user-name]

Exciter excites - two small forms tickle their large friend. After long effort finally all are in sync and energy flows, only to fail, break down and start again. What is the scale of this? Where is this occurring? Why do they fail so often?
There are two related ideas at play in exciter. The first is a formal idea involving the intersection of an organic gestural form described by hand-drawn marks in paint and sand, contrasted with a more formal, geometric idealization of that form through a carefully plotted patterns of LEDs. The two representations overlay and interrupt each other. A question of precedence is implied: which came first, either in construction or conception? Is one a truer representation than the other? Is one more "real" than the other?
The other idea explores the nature of the form itself. How is this form read? The gestural representation of the form contains its own cues for reading: the specificity of the marks which guide the eye, the relation of the form to the picture plane and boundaries, the trace energy of the hand left in the materials - this is the language in which paintings are read. Overlaid on this is a programmatic reading or articulation of the form through the code which controls the LEDs. The programmed LEDs destroy any concept of a picture plane and assert a totally different kind of formal space and intention. They also have the effect, in a subtle way, of making the viewer more passive, more expectant of a 'show', a spectacle or a result. The LEDs are assertive and dominant but also dependant on the surface in which they are embedded. They claim the space of intention and meaning but can they hold it against the physical image in which they reside.
In this piece I am attempting to play with these tensions - physical vs electronic representation, active vs passive viewing, the virtual space of painting vs a 'new media' virtual space - in order to explore the boundaries in between.

the phenomenology of painting (Albers machine)

3 stretched and gessoed canvases, 3D animation with sound, software, video projector, speakers, computer
Artwork by [user-name]

This new body of work is an extension of my previous explorations, in which I created a series of interactive installations and sculptures featuring lifelike 3D animated forms. That work investigated empathy, and the way we come to identify with the objects of our gaze, be they living or technological. In this new work, which I am calling “unspecific objects” (in both parody of, and homage to Donald Judd’s famous essay, Specific Objects), my goal is to use projected 3D animation combined with material forms to create objects that have a strong physical, almost lifelike presence. Despite their simple formal constraints, they elicit an awareness of our process of perception, and the difference between perceiving and knowing. They also expose the anthropomorphism latent in our perception of even the most minimal of objects.
the phenomenology of painting (Albers machine) specifically explores the relationship of abstract painting to spatial illusion. Throughout the last 100 years there has been much discussion of the “nature” of painting, and the relative value of acknowledging the flatness of the picture plane vs. explicitly creating the illusion of depth. This piece both pokes fun at and investigates these stances by creating the illusion of depth in three wall-mounted objects that very closely resemble Joseph Albers' paintings from the series “Homage to the Square.”

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