Prints
2025
Recently I started making computational drawings and crafting these as physical drawings, objects, and paintings. My images start as simple shapes and geometries. The destabilizing factor is my intervention with marks and deletions and with impossible dimensionality. Across all the works, messy, fiddling erasures overtake the mathematical forms. Forms disintegrate, and spaces are rendered illogical within the geometries of Cartesian space. Some drawings disobey the laws of geometry to end up twisting planes, appending new vanishing points, inserting and refolding shapes.
I’m pushing back against the all-encompassing digital using the very technology that is underpinning its faultless, even magical qualities. I’m going back to foundational assumptions about digital art – form, color, geometry—to subvert what has become a contemporary seamlessness. I’m using the vocabularies of Vera Molnár, Manfred Mohr and Ellsworth Kelly in their exploration of the generative and of abstraction. My aim is to invade perfection with imperfection.
The digital is an increasingly extractive enterprise, implicated in climate catastrophe and infrastructural inequity, and ultimately could serve to buttress the frameworks behind systemic power and control. Uncritical technical developments hardwire particular varieties of politics into social structures, financial structures, objects and beings. Shapes define a space, and their manipulation and destruction not only exposes the human/sentient/natural but implicates time as well. Contrasting the digital with embodied notions of time, I aim to disrupt the controlling frame of geometric abstraction itself.