Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on curved canvases. Marks created in this way take on the form of the geometric profile.
The curved canvases are worked on as three dimensional objects. However, rather than considering the interplay between solid and space as a sculpturist does, my forethought is to return to the ‘flat two dimensional picture plane’. As this reflects our ingrained version of reality — that we are tied to a 2D universe yet entangled with all its probabilities in the vastness of infinite space.
I call this approach Membrane Art. As it is the curved canvas surfaces that creates the basic structure for each work of art. Only when it is unraveled and stretched-out does the aesthetic emerge.
Membrane Art is inspired by the present context of a ‘multi-dimensional’ universe and the way nature itself could be. An aesthetic thought that I continue to evolve.
Helium Sculpture along with 9 other pieces are on display at Little Bang Brewing until August 15, 2019.
In the 1950s and 1960s, with his work on ‘spatialism’ Lucio Fontanta gave us a new concept of space. His gestural expressions of ‘buchi and tagli’ (cuts and holes) called for a new art form that reflected and responded to the current understanding of space and time. Especially with his sharp edge cutting of the canvas, he was able to show that you can extend the 2D object into a 3D conceptual one. His work created an image through the direct engagement of both the canvas’s physical properties and the space that exists around it. In a nutshell — he made us think about the role of the surrounding space. Lucio-fontana.
Rather than the surface exposing time and space. My work ties us to it. Firstly, by creating marks in a 3D curvature construct. Reciprocal and distinct cavities develop as one expression. These marks are only possible through the advent of a curve. So when finally, we do observed the results on a 2D flattened picture plane (the switch from 3D to 2D represents the collapse of ‘probabilities’), a network of emptiness emerges — reverberating as a mirrored envelope, reflecting our ingrained version of reality.
An aesthetic that is deeply rooted in the present context of a ‘multi-dimensional’ universe and the way nature itself could be.