Construction and the Aesthetically Pleasing Art
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. What I use in place of physical materials is an assortment of digital photographs. Photographs that I have taken of textured surfaces. I'm most interested in the substance 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. 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 setting that is suitable and nuanced. At first glance, it is hard to determine what the surface is made of, 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 views the work is what seems 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. The goal here is to set up a space of significance, 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 entertaining 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 made of many parts take on an array of processes to fulfill their outcome. All this is concealed, however, to achieve a bold minimalist design, but these complexities show through with subtle nuances throughout the work.
Printed at 300 dpi on cotton rag, watercolor paper with an iPF8400 Canon Printer, they measure to 32 inches high by 24 inches wide and includes a 2-inch white border. The work has a one-time printing of an edition of 20, signed, and numbered.