To take complexity and to fit it into a very simple package is just one of the things I'm trying to achieve here. But first, I must mention one of my influences, and that is Constructivism.
Constructivism focuses on the use of modern building materials and how they are forged together rather than being considered an aesthetically-pleasing composition. As an artist, I borrow this idea of the materials being used as the subject of the work, while discarding the view of the non-aesthetically pleasing composition. I’m not so sure I believe entirely Constructivist did not care about the overall aesthetic of there work, as I was personally drawn into Constructivism because I found it aesthetically pleasing; however, that is a discussion for a different day.
With that said, there are no physical materials used in my series “Construction” other than the paper that it is printed on and my iPad. What I use in place of physical materials is an assortment of digital photographs. Photographs that I have taken of textured surfaces. I'm interested in the essence of the materials. With a camera, I can capture close up samples of what things are made of.
Through my day, I collect texture samples by photographing and then cataloging them for future use. A work begins by selecting an arrangement of photos. I then overlap and blended photographs together, adding some color until I achieve the desired look. At this point, I have created a backdrop that is suitable and nuanced. At first glance, it is hard to determine what the surface is made of accurately, but that it is textural by design. Digitally speaking, it is a way to bring found objects and collage into the work.
What stands out when one view the work is what appears to be a three-dimensional object, which is just a simple design using basic geometric forms. One sees this form centered in the middle of the composition. What is being done here is setting up a space of importance, for example, a classic portrait of a nobleman, or still life of a priceless vase. The eye is drawn to this figure as it demands your attention.
While viewing the figure, one notices the effect of the optical illusions installed into the forms. This gives the composition a sense of movement and contrast to entertain the viewer. Once you drift from the main form to the background, one begins to notices the nuances of the layered photographs.
As described, these abstracts are made of moving parts. They take on an array of processes to achieve their outcome. All this is hidden, however, to achieve a bold minimalist design, but these complexities can be seen through subtle nuances throughout the work.
Printed at 300 dpi on cotton rag, watercolor paper with a iPF8400 Canon Printer, they measure to 32 inches high by 24 inch wide and includes a 2 inch white border. The work has a one time printing of an edition of 20, signed, and numbered.