The aesthetic thought — use the membrane surface to create events in 3D curvature space (as a sculptor) then bring it back to the flat 2D picture plane for observation.
Just one of my pieces that will be exhibited at Little Bang Brewing’s new exhibition space. Details to come.
In the 1950s and 1960s, Lucio Fontana gave us a new and radical concept of space. His gestural expressions of ’buchi and tagli’ (holes and cuts) called for a new art form that reflected and responded to the present-day’s understanding of space and time — he called this work ‘spatialism’. Especially with his sharp edge cutting of the canvas, for which he is famously known, 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. At no stage did he call what he was doing…painting. It was a ‘spatial concept’ with the objective of forcing us to think about the role of the surrounding space.
Today, as we try to grapple with our understanding of the cosmos, what I call ‘Quantum Brushstrokes’ aims to reflect our times but may in fact be an extension of Fontana’s idea. However, what distinguishes my work from his is that the mark-making events have been prominently created on curved structures. That is, all my works are structurally created in the 3 dimensional form before I bring them back to the two dimensional flat picture plane we now observe. So rather than the surface exposing time and space, I’m tying us to it. By creating reciprocal markings, distinct cavities develop, akin to an echo, that could not be achieved unless some sort of curvature construct was involved.
So when you observe any of my works, even though the geometric conditions may have change form, you can never alter their uniqueness nor their fate to remain tied to the two dimensional reality of the picture plane. A truth about the human condition — that we are trapped on the edge of a 2D universe yet entangled in all its probabilities in the vastness of infinite space.
Distinct and reciprocal cavities develop when mark making events are created on curved structures. So that when it is transformed to the flattened observed form, a truth about the human condition emerges – that we are tied to a 2D universe yet entangled in all its probabilities in the vastness of infinite space.
This double-sided framed sculpture will go on display at my coming exhibition at Little Bang Brewing (25 Henry Street, Stepney, South Australia). Details to be confirmed.
My work is nothing more than mere expressions dancing on hollow nothingness; As the curved surface geometries changes form, you can never alter their uniqueness or their fate to remain tied to the two dimensional reality of the picture plane — a truth about the human condition — we are trapped on the edge of the universe yet entangled in all its probabilities in the vastness of infinite space.
Yellow Helium Bloom is one of my paintings that will be exhibited at Little Bang Brewing‘s new premises in 2019. Further details to come.
Destruction and creation are bonded together through a series of mark-making events that have been achieved in three dimensional form. So when the expressions are ‘opened out’ and observed on the two dimensional picture plane, they create distinct and reciprocal cavities that confines us to the surface — setting in motion a further process of deep reflection or meditation.
I’m proud to announce that Little Bang Brewery will host my art once they’ve settled into their new premises in Stepney. The exhibition is likely to be in early 2019 and will feature a range of new work exploring what I call ‘Quantum Brushstrokes’. Further details to come.
Call Malcolm for details: +61 419 864 987
Thanks to Jacqueline Mitchell from Art Logic, a rental and sales service supporting local South Australian artists, six paintings have come out of hibernations, and are now hanging in unison at BRI Ferrier’s boardroom (SA) for the next four months.
BRI Ferrier is a unique affiliation of expert business recovery, insolvency, forensic accounting and advisory firms. They provide practical, innovative services that help financially distressed businesses to recover or at least minimise the negative impacts of insolvency. They also support South Australian artists, like myself, through a continual program of art rental rotations that span over ten years.
This exhibition represents a variety of styles and approaches, dating back over ten years to when I first started experimenting with creating events on curves — an art practice I call ‘Membrane Art’. This is my first time exhibiting with BRI Ferrier and I’m happy with the way it has come together.
I’ve just visited a wonderful exhibition at the Art Gallery of Ballarat: Eugene von Guérard and rediscovered a name I’ve long forgotten about, the polymath, Alexander von Humboldt.
Eugene von Guérard like many artist at the time was inspired by Humboldt’s view that art and science is one and the same. This is such a wonderful exhibition of Australia’s colonial past. So glad to have seen it and the rest of the gallery’s impressive collection of Australian iconic art. It’s on until May 27, 2018.
I’m experimenting with the background colour which will be sitting about 12mm behind the surface. It will also act as a structural base for the box frame. In its electrified state helium is a pale peach to orange colour but when it burns it becomes a blue colour. Even though it will only appear through the drill holes, getting the right shade of blue that complements the orange values is going to be the key. The top image above is on Perspex Fluorescent Neptune Blue. The bottom image is on Perspex Frost Sapphire Blue.
Quantum Flora Series: Oil paint on JPP Synthetic, 905gsm (unframed).
Thanks to Jacqueline Mitchell at Art Logic , a rental (and sales) service supporting local South Australian artists, this painting (MA#5) is hanging in the Chairman’s office at 1414 Degrees for the next six months.
1414 Degrees’ is a thermal-based energy storage system. What makes it unique is that it is clean, scalable, sustainable and therefore unlike any other energy storage system in the world. This breakthrough technology is set to disrupt energy storage globally because it provides energy in the form most used in the world – heat. So, I’m thrilled that they’ve selected my work. Check out their recent prospectus and website: 1414 Degrees
The above sequence shows how drill holes and saw cuts are produced on curvature structures ( a variant of Membrane Art that I call Quantum Brushstrokes). Similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.
In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world, and when the results are unraveled and revealed on the 2D picture plane it might generate the human visual experience, thus being a metaphor for how we observe. Since, this approach has enabled me to evolve and develop a body of work that I refer to as Membrane Art. The key influence and structural basis of my art practice.
Although incomplete and requiring further explanation, these drafts are just for a bit of fun. I’m trying to illustrate an aesthetic interpretation of how fundamental particles may have evolved in ’empty spacetime’ not flat but as a curve. A kind of proto general relativity phase that results in a quantum blockage/wall developing. Making way for the right conditions to form elementary particles within the manifold.
In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world (particularly at the atomic scale), and when the results are unraveled and revealed on the 2D picture plane it might generate the human visual experience, thus being a metaphor for how we observe.
Since, this approach has enabled me to evolve and develop a body of work that I refer to as Membrane Art. The key influence and structural basis of my art practice.
Top: side-on view, Middle: top view, Bottom: stretched-out view:
The above shows what has happened when paint was poured on a wavy surface. Gravity allows the paint to define the form as it flows from the top (point of contact) to either side of the surfaces until it hits the base below. The stretched-out view (bottom image) starts the process of compressing the depth to generate the human visual 2D experience.
‘I’m attempting to discover a universe; Concealed in the endless possibilities of 3D space, yet confined to a flat picture plane that reflects our inherent reality’. Malcolm Koch
Malcolm’s Artistic Approach: Is it painting or sculpture?
Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on a curved canvas rather than a flat ‘two dimensional’ plane. Marks created in this way take on the form of the geometric profile, so that when the results are re-stretched to the two dimensional picture plane, the aesthetic emerges. I call this approach Membrane Art — as it is the curvature profile(s) of the surfaces that underpins the development of each artwork.
Like a sculptor who works in three dimensional space, this approach allows me to engage with all dimensions, space and surface, including both sides of the surface. However, unlike a sculptor, when ‘painting’ in this way surfaces are partially, or completely, obscured from my sight. Also, unlike painting directly onto a flat picture plane, the flexibility of the curved canvas surface allows for reciprocal marks to result that cannot be achieved on a flat surface. However, the key is always to return to the two dimensional picture plane as this generates the human visual experience.
Why paint in this way?
Recognising that the surface membrane creates the basic structure for the artwork is only the beginning. Results can either echo, connect and/or entangle themselves in ways that cannot be achieved in our flat dimensional world — yet, in the end, you never truly know what you’re going to be looking at until you unroll it. It shows that the markings have come from somewhere else — where expression and sculpture unite — which is why I consider this approach neither painting nor sculpture.
Creating a different kind of abstraction is born out of a need to sculpturally define our multi-dimensional universe. It shows a world that we cannot observe directly, yet we know it exists. So the meaning may appear latent but the premise and execution of the artwork is far from it. There certainly is a sense of freedom by working in this way. Creating a gestural response that is deeply-rooted in the present context of quantum physics yet not bound by its mathematical theorems, provides an artistic licence to explore.
Membrane Art holds true regardless of whether the events made on the surface are painted, sprayed, poured, drilled, slashed, stamped, cracked or any other kind of mark-making. It is the curved nature of the membrane surface that creates the structural expressions for the work and, provided the work is presented in a flattened two dimensional form for observation, it is a consequence of the aesthetic thought.
Similar to the way things may appear in nature at the atomic level, we may not fully comprehend the methods and sequences that allow it to appear the way it is but it seems to form part of our inherent reality.
Painting today needs possibilities, to go beyond a rehashed post-Minimalist or process-based ideas from the ‘60s and ‘70s, and discover a beauty that it can call its own.
Quantum brushstrokes exhibition
24 March — 23 April 2017
Tony Bond’s Gallery Space Upstairs
Edinburgh Castle Hotel
233 Currie Street, Adelaide
Mon-Fri 11am – 6pm
Sat 12pm – 6pm, Sun 1pm – 6pm
Artist talk times: Sunday 9, Sunday 23 at 4pm. Call Malcolm to confirm: 0419 864 987
Art by Malcolm Koch
24 March — 23 April 2017
OPENING NIGHT: Thursday 30 March 2017
Tony Bond’s Gallery Space Upstairs
Edinburgh Castle Hotel
233 Currie Street, Adelaide
Mon-Fri 11am – 6pm
Sat 12pm – 6pm, Sun 1pm – 6pm
Call Malcolm to RSVP or for art talk times: 0419 864 987
This paper study displays 17 actual saw cuts. Yet six cuts were made. By applying quantum brushstrokes I’m able to multiple the events on the curved surface before we observe it on the 2D picture plane.
These two paper studies show how one drill hole and two saw cuts (ie, similar energy forces were involved) can produce different results depending upon the membrane configuration at the time of creation. Quantum brushstrokes.
Art like everything else repeats itself. So if we were to suppose that today we are about the cycle of 1960 (when the art market supposively went from strength to strength), then the question might be: What is the modern-day equivalent of Metzger’s ADA manifesto (an Absolute aesthetic idea) that can present a real alternative to the artworld of which he deplored? The answer may evolve through subcultures but it’s only through ‘Absolute aesthetic ideas‘ that provide the artist with a common philosophy or goal, so that he or she, or collective group, can bring about a sense of purpose and direction that may thrive once again outside the art market.
Metzger may not have achieved his ambition to smash the commercial gallery system. His legacy was his ability to inspire a collective consciousness in all things — an idea that I think still remains relevant today.
Gustav Metzger (10 April 1926 – 1 March 2017)
2 cuts become 5 on the 2D surface when you apply quantum brushstrokes.
Experimental work on paper: The trajectory path the string followed was a straight line in the curled up ‘complete’ space of when it was created. Now when we observe it on the 2D picture plane (human viewpoint) the string appears to be networked differently. For more see Quantum brushstrokes
Experimental work on paper: The two trajectory paths of the strings followed a straight line in the curled up ‘complete space’ of when it was created. Now when we observe it on the 2D picture plane (human viewpoint) the strings appear to be networked differently. For more see Quantum brushstrokes
The spacial transformation of the events onto a 2D picture plane happens directly and without distortions — a fundamental principal of Membrane Art.
JPP Synthetic, 566gsm, 1020w x 760h mm.
Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 1 of 3 holes).
Debossed quark hole showing the clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 2 of 3 holes).
Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 3 of 3 holes).
Lithium mesh: This painting/sculpture shows a number of drill holes and saw cuts. The bottom right set of 3 ‘quark’ holes (single quarks shown above) were all created at the same time or rather as one complete expression. Yet we may observe both ‘up and down’ qualities on the 2D picture plane. This is possible when the geometric state of the membrane is altered (curled) in a way to allow such events to occur before it is then unravelled to the 2D flat plane for observation – the principle idea behind Membrane Art. For more information see Quantum_Brushstrokes or Membrane Art.
Lithium mesh was highly commended at the Waterhouse Natural Science Art Prize, 2016. Synthetic polymer on JPP Synthetic, 566gsm, 1020w x 760h mm
Membrane Art holds true — Regardless of whether the events made on the surface are painted, sprayed, poured, drilled, sawed, stamped, cracked or any other kind of mark making, the curved nature of the membrane creates the structural expressions for the work — and provided the work is presented in a flattened 2D form for observation — it is a consequence of the aesthetic thought.
It is the curved nature of the membrane that creates the structural interpretations — and when the work is presented in a flattened 2D form for observation — the trajectory path appears to be different.
The trajectory path (broken line) of the drill hole follows a short and straight path in complete space (unseen).
When the curl is unravelled, the trajectory path (broken line) remains the same as it was above. Yet the path seems longer, goes back in time and appears networked differently when we observe it from this (human) viewpoint.
‘I’m inclined to think that…the 3D world is an illusion. The ultimate precise reality is the 2D reality on the surface of the universe’, Leonard Susskin*
*Source: What is space? 48:30s, 2015 www.youtube.com
Note 1: The holes (3 white marks on the membrane surface) should be viewed as the vectors created within the field. They aren’t necessarily the particles themselves but the negative space that’s require for them to exist on the 2D surface.
Note 2: A second phase dimension has been neglected from these diagrams.
The photograph above is of my working notes which appears on the reverse side of my ‘Highly Commended’ art piece, Lithium mesh. Although you will not see this side of it on display at the prestigious Waterhouse Natural Science Art Prize 2016 exhibition – it shows my thoughts and the science of my working method. For more information about the science behind it, see the following blog (Proton brushstrokes) or download the PDF file Quantum brushstrokes
To see the finished mounted work, visit the South Australian Museum from 10 June until 31 July 2016. Waterhouse Natural Science Art Prize_Gallery
Artist statement of work: Lithium mesh
Quarks & leptons are the building blocks of matter — I’ve created a series of events, using curls & waves, that interpret a geometric construct of a particle’s properties. The curved structures create a framework that allows for connections and entangled systems to manifest. Finally the surface is flattened to 2D-form for observation. The viewer experiences the unravelled results — challenging perceptions that things are often not what they appear to be — a tangible expression of how nature at the very small scale may be formed, by complicated structures and events that are concealed from us.
*Source: What is space? 48:30s, 2015 www.youtube.com
Note: A second phase dimension has been neglected from this diagram. Download the PDF file Quantum brushstrokes for more.
The Observer recently wrote a very interesting article titled, Are Painters out of ideas? In it they suggest that they are, ‘as it is just too difficult to be truly original with paint these days.’
Of course, ‘mimicry—either the naive or purposeful kind—is not new, nor is it illegal.’ But what caught my attention was the statement, ‘that there are only so many variants of color, brushstroke and composition to discover, especially once you get into formal abstraction. And in fact, the art world had seen an explosion of simplistic wall works over its recent boom years, many of which rehashed post-Minimalist or process-based ideas from the ’60s and ’70s in order to produce a high yield of nearly indistinguishable abstractions.’
While I essentially agree with the premise of this, I don’t agree that all has been explored. I believe what I call the ‘quantum brushstrokes’ opens a door to abstraction that is not borrowing, stealing, appropriating, or copying from the past. It is authentic, real and relevant to anyone, like me, who has a keen interested in expressing the aesthetics of our natural universe.
See full article here: http://observer.com/2016/02/are-painters-out-of-ideas/
For more download: Quantum brushstrokes
Lithium mesh (detail): A series of quantum brushstrokes.
For the second time running, I’m a finalist in the prestigious Waterhouse Natural Science Art Prize 2016. Prize winners will be announced at the South Australian Museum at 10:30am on Thursday 9 June 2016. Whatever happens, I’m thrilled to be part of the exhibition to be held at the South Australian Museum from 10 June – 31 July 2016. For more info: http://www.waterhouse.samuseum.sa.gov.au/
More about Quantum brushstrokes
Visual entanglement exhibition on until 3 June 2016
Royal Institution of Australian (RiAus)
55 Exchange Place
Adelaide, South Australia 5000
10am to 5pm, Monday to Friday
For more about the work, see Quantum brushstrokes
It seems to me that the efficiency of creating this diptych (Carbon 12) is a clue as to why life forms are favoured towards a carbon-based structure. This painting was completed with only 6 drill holes and 3 saw cuts as one entangled expression, yet we can observe — a sea of 72 quarks (holes) and a cloud of 39 electrons (cuts).
About the painting: Created as a series of quantum brushstrokes, it interprets the geometric construct of the respective particles properties, ie, protons, neutrons, electrons. The various curved structures create a framework that allows for connections and entangled systems to manifest. Finally the surface is flattened to the 2D-form for observation. The viewer experiences the unconcealed and simplified results rather than an accrual of the method used – a possible model of how the natural world is formed, even at a tiny scale, by complicated structures and events.
For more see Carbon 12 (network) in the flesh at my latest exhibition:
RiAus, 55 Exchange Place
Adelaide SA 5000
10am to 5pm, Monday to Friday
on until 3 June 2016
More information about the work: Quantum brushstrokes
This is an attempt to express a classical interpretation of how fundamental particles may have evolved. Also it tries to address some of the principle questions about why certain particles and initial conditions have been favourable for life to evolve while others have not.
I must emphasise that this aesthetic interpretation has not been tested or verified in any way, shape or form (it’s a ‘fruitloopery’ interpretation from a fringe dweller). Nevertheless it is an invitation to think about what fundamentally cannot be actually directly observed – a quantum particle (not yet anyhow). Therefore the aim is to provide a platform for a visual dialogue that postulates current particle physicists theories, so that we may then have a tactile understanding of their thinking and subsequent discoveries. Afterall, developing bite-size visual queues is a particularly humanistic quality beneficial for understanding our world and each other. Without that, the practical implications may not be as readily realised.
At the same time, this is an extension into the art practice I call, Membrane Art — that is, how geometric curves provide the framework for events to manifest and evolve, yet the flat picture plan is an agent of how we observe them — necessary to help us analyse and contemplate what has happened.
I trust that with further understandings this aesthetic practice will evolve and be further enhanced in time.
Building brushstrokes (Quantum brushstrokes)
The building blocks of matter are made up of two kinds of brushstroke expressions:
- Quark brushstrokes : Quarks are represented by drill holes created on a particular kind of curl (strong interactions) — a quark is a tiny particle which makes up protons and neutrons.
- Electron brushstrokes: Electrons (leptons) are represented by saw cuts created on a wavy surface (electromagnetic interactions).
Whichever brushstroke expression is used the similarities to the way a brushstroke mark is made on a flat plane remains the same — there is initial contact, movement across and then an exit off the surface.
Note: The saw cuts and drill holes are vector spaces left behind within the field and not the particles themselves. That eventuates as a consequence of it.
Favourable curled structures
The curled membrane represents the geometry of the strong field needed to create the particles that interact with it. The drill holes produced on this curvature structure is similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.
1: This side view of a curled membrane represents how strong interactions are created. One drill hole can express a multiple flavours of quarks. When entry occurs at the point where two convex surfaces are close together and the exited point is a concave structure – a proton is created (two up / one down).
2: If the curl is spun 180° (half spin) then a different set of events occur. When entry occurs at one convex structure and the exit point is at two concave structures that are close together – a neutron is created (two down / one up).
3: Flat view: The aesthetic is realised when the membrane is opened out and the depth is compressed. Nothing disappears, it just changes form. This generates the human visual experience, a metaphor for how we perceive.
Quarks eventuate out of the six different spacial geometries as shown above (3 proton-style quarks, 3 neutron-style quarks). In practice, however, vector fields that holds the quarks are often malformed at the time of creation. It doesn’t matter that the same drill-bit size was used to cut through all the various curvature constructs, you can expect variations to size to occur. Whether or not this is due to the condition of the tool used, extra debris or other surface conditions allows for a multitude of variations to manifest. Nature is fickle, so if quarks are created in this way then you can expect that given time (billions of years or so) decay or other high entropy processes may then ‘clean up’ the vector spaces to allow for a more full-bodied quark type to evolve and become favourable for atom formation.
Favourable wave structures
The wave membrane represents the geometry of the electromagnetic field needed to create the particles that interact with it. The saw cuts on this curvature structure is similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.
1: This side view of a wave membrane represents the electromagnetic field. The geometric relationship creates ‘hidden’ structures for the work.
2: This shows how one expression (a cut made by the circular saw) can appear to be in two places at the same time.
3: Flat view: The aesthetic is realised when the depth is compressed. Nothing disappears – it just changes form. This generates the human visual experience, a metaphor for how we perceive.
The saw cuts and drill holes are vectors created within the field and don’t necessarily represent the particles themselves. Smaller sedimentary-style matter (strings) may fill the void left behind to create the so-called elementary particle. In practice, for entangled (networks) to occur, electron brushstrokes by default might contain more parts or substructures then the ones we know. For example, the bottom fold which contains no cut, is still a part of the overall structure. It creates the visual connection (distance) between two saw cut expressions when we observe them on the flat plane.
I have not considered the scale differences between leptons and quarks in the development of this work. Curled structures might have eventuated before wave structures. They may simply be a by-product of curled up ones.
Creating atoms (protons, neutrons, electrons)
with second phase dimensions
We can now use both drill holes and saw cuts to create vectors and other interactions on the surface of the membranes. To create entangled (networks) a second phase dimension is hidden within the geometry of the curvature constructs at the time of creation. In practice, this second phase dimension must be large enough so that it can be held in place by the outer dimension at the time of creation — too small, it misses, rolls around inside and remains unconnected.
1: This electron was created with additional hidden structures (phase dimension) to express a ‘cloud of electrons’ that are entangled as one expression as seen on the opened out perspective.
2: Multiple quarks can be created with additional hidden structures (phase dimension) to express a ‘sea of quarks’ that are entangled (networked) as one expression as shown on the opened out perspective.
3: Flat viewpoint – all sorts of expressive combinations can be created with quantum brushstrokes that relate to fundamental particle formations. Yet the flat picture plane is necessary to help us analyse and contemplate what has happened.
If the same size drill-bit and saw blade is used to cut through all phase dimensions then it could be that the hidden dimensions is as large (possibly tighter and more fragile) then the dimensions we know. For entanglement to occur, particles by default must clump together to form stable groups. So when smaller sedimentary-style matter (strings) fill the space left behind they may entangle with all phase dimensions as one expression.
For more see:
RiAus, 55 Exchange Place
Adelaide SA 5000
10am to 5pm, Monday to Friday
on until 3 June 2016
This exhibition is an expression of my understanding of quantum physics. I’m attempting to communicate how fundamental particles may have evolved. Quarks & leptons are the building blocks of matter – I’ve created curls & waves that relate to the physical properties found in these particles. The curved structures also create a framework that allows for connections and entangled systems to manifest and evolve that couldn’t happen any other way.
Starts: Monday, 22 March — 3 June 2016
Opening night: 23 March 6—7pm
RiAus FutureSpace Gallery
55 Exchange Place, Adelaide South Australia
Open: Monday — Friday, 9-5pm
I’ve just signed a MOU (Memorandum of Understanding) with RiAus (Royal Institution of Australia Inc) for a solo exhibition called Visual Entanglement. This exhibition will be held at the Science Exchange in the FutureSpace Gallery from Monday 21 March to Friday 3 June 2016 (10 weeks).
Recently, many scientific discoveries have been shaping and redefining our understanding of the laws of nature. So, the objective of this exhibition is to make the science of this (quantum mechanics in particular) seem more approachable to everyone. By putting the ‘observer’ (the human aesthetic values) into the framework, I’ll be able to develop a narrative through a series of visual expressions that cannot be described independently, ie, they’ll be entangled.
As science and aesthetics is an integral part of the ethos of MembraneArt, more than any other exhibition I’ve done before, I’m looking forward to working with RiAus to present and fulfil this objective in a meaningful way.
In the example below, three cuts were made to an undulated membrane surface. This was then stretched and mounted to the two dimensional picture plane. So the top three expressions (cuts) were created at the same time as the bottom three. This illustrates how expressions can be in two places at once. A further explanation is given below.
Membrane Art: An aesthetic thought:
1) Side view of an undulated membrane; The geometry of the membrane creates a ‘hidden’ construct for the development of the work.
2) Top angle view: From this view we can start to see how one expression (in this instance, a cut made by a circular saw) has appeared in two places at the same time.
3) The stretched out view: The aesthetic is realised when the depth is compressed (membrane stretched). Nothing disappears … it just changes form from an undulation to a flatter state. This generates the human visual experience, a metaphor for how we perceive.
Note: Undulations can take any form. They could be fixed or unfixed, angled or straight, shallow or deep, loose or tight, crumpled or smooth. Whatever the undulations, it controls the process of paint flow, cuts and scrapes.
Come see me paint Membrane Art. Unframed watercolours for sale on the day. Mary Harris collection will also be on display. Meet 7 other artists. Fun activities and workshops for children.
Friday, 28 August 2015
10am (official opening) — 2pm
Mary Harris ‘Bundilla’ Reserve
114 Walkerville Terrace, Walkerville
The grid is defined by the geometric form of the membrane at the time paint was poured over the surface. So when we observe the image on the flat 2-dimensional picture plane it appears distorted. Interesting how the low lying parts of the folds have defined the grid edges. This is unseen until it is fully stretched and mounted. For a full explanation see About Membrane Art in the menu.
See MA#49 in the fresh at the Energy Travels exhibition – Angas Travel for the SALA Festival 2015. On until 31 August, 2015.