Huzzah!
"Circuit Topology"
Ink on paper
15" X 22"
2014
"In Planar Camo", "Tri-circuit", "Attractor"
Ink on paper
6" X 7.5" (each)
2014
* * *
"Circuit Topology Poem"
Slabs of square tiles line the jungle
floor
I am in planar camo
as I weave between muscular tree
roots
bursting from the uneven concrete
layers,
up to a kaleidoscope canopy
Knots of interwoven branches
obscure the sun,
casting gothic rays down onto my
animal face
Instinct drives me
to an ancient geometric grotto,
located somewhere beyond the deep
murmurs
of these uncharted tropics...
^ Four Tet, my love.
* * *
I
think the crop helped to emphasize the functional elements of the composition.
I'm going to continue working on this suite of drawings and will likely be
showing these somewhere in the coming months, alongside my Cyberspace
paintings. I will also be getting ready to make a new series of paintings from
these drawings. I have lots of ideas, but need to narrow it down to make a
cohesive presentation of paintings.
My newest idea deals with the
communication between different bodies of networks. So, the next drawing is
going to be like "continents" of perspectives that are connected by
extended circuits. I want to begin to make the composition less of a closed
loop and integrate the challenges of mapping negative space between multiple
bodies.* (It may have emergent concave/convex topography, like "Attractor"). I'd like to eventually have a bunch of panel paintings that function
this way as an installation.
*That's the whole challenge - it takes awhile to figure out how to connect everything, but it's all about maintaining loyalty to a system, while at the same time, pushing it to its limits to maximize the surprise.
(^Similar to "Postmodern
Tectonics", but with more negative space and irregular polygons.
It's time
to break the square!)
^I hope I get to meet him
someday.
The Black Paintings are also
really great - but I like his less minimal work. I like it when
Stella lets
loose and gets sculptural with painted surface.
I'm
also thinking about starting with the drawn composition and responding to it
sculpturally (vs. responding with illusion on top of the sculpture). That way,
I might be able to foresee and dictate the contradiction of the space with more
intention. I was thinking I could take a drawing like this, divide it into
tiers of spaces, and then build the levels on the wood panels according to
those tiers.
Of course, I would completely
reverse the logical progression of back-mid-fore-ground spaces that we
understand in the illusion. The space would be compressed and contradicted by
reversing the order of spaces in the compositions.
Also, I have some new mini wood
panels. I'd love to cut up these drawings and collage them onto wood panels,
while working with the same sculptural ideas. I want to varnish them, too -
cover them in clear gesso and put an isolation coat with high gloss varnish on
top. These need to be really shiny. Also-also, interference paint and tracing
paper would have amazing spatial-distortion effects. I could easily collage the
tracing paper over sculpted surface by folding it and gluing it down. *Ok, I
will stop verbalizing my artist train of thought, now*
Layered
book board + PVA glue + paper collage + wood panels + clear gesso +varnish =
new collage paintings. They will be much easier to construct, and they won't
warp on the wood panel! **I've made myself happy**
I'm also thinking about breaking the
square format of the painting and doing something more irregular shaped. Like,
maybe, a bunch of skewed squares that fit together and slither across the floor
like a rattle snake. Or,
maybe I'll have all that occurring within a rectangle format… was also thinking
it'd be crazy to bring the Fibonacci sequence back into the grid.
^ Clark, my love.
^ Autechre, my love.
* * *
Visions of an exhibition:
Feeling this kind of exhilaration:
^ Autechre, my love.