Atmospheres from 2009, Involutes from 2010, Condenser from 2012, exist somewhere between drawing and painting. These representations are called drawings/paintings for they lie in the intersection of the two mediums. They consist of lines and only lines, thus they hold a lineage towards drawing. But none of these lines demarcate a boundary or contour, they do not define a figure from a ground which is one of the fundamental aspects of drawing. Instead, they are variations of hue, saturation, and luminosity that build up color combinations and through the overlaid diffraction allude to changes in materiality and texture. These aspects place the representations in a world closer to the medium of painting as marks in a matrix. And it is here that the aesthetics are judged. The questions of depth, of color, and of the figural push into the ground as a loss of edge are what these representations seek to engage. This world of painterly aesthetics is in tension with the linear vectors that create the images. As said, each representation is built of lines and only lines with a specific geometric order. There are only straight lines in these images, vectors tangent and normal to fields of curves. Tangency is how digital modeling software computationally builds curvature. The vectors perpendicular or normal to the curve is how curvature is measured, instant by instant. These representations can be understood at one level to be the rendering of the tectonics of our computational environments through a graphic differential geometry. But, in the mediation of painting, these are only marks in a matrix, pixels on a monitor, which is of course what our digital media actually is regarding the interface of the display monitor.
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