Chance/A Floating Mind

November 7, 2012

 

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I wanted to give chance a larger role in my digital image-making, so I printed a large aggregate of “Tin House” images onto 32 flat aluminum abstract shapes to be grouped in myriad combinations as a sort of sculptural intervention through space, carrying forward a sense of transparency that is everything about how I apply transparent paint to panel, canvas, paper, wall.

I am interested in the intersection of chance and deliberation in artmaking. Developed through careful methodology, “Tin House” and “Tin House Cut Outs”  are two series of digital pigment prints on paper that draw on experience in the natural world interpreted in images of unkempt photography and abstract paintings seen together. They are layered, built, erased in a process that spans time and underscores its passage. Onto paper, imagery of molten destruction reconfigures and alights as ink patterns.

“Chance” is a step away from paper onto aluminum. Created from bringing together merged photographic and painted imagery from the “Tin House” series into one image and printing it onto thirty-two abstract flat aluminum shapes, chance places the images on each piece. As it is unknown exactly where the large image prints on each shape, each piece is one-of-a-kind, each capturing a portion of the larger image, which itself contains the essence of the project’s origin in painted and photographed landscape. Some pieces perform alone, others in combinations.

Chance scattered “Tin House” over 32 pieces of aluminum. With artist’s eye and hand, deliberation joins chance in arranging them in dimensional space.

“Chance” = digital print on aluminum shapes

“Tin House” = digital prints on paper (digital imagery, not photo of object)

“Tin House Cut Out” = digital prints on paper (digital imagery, not photo of object)