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Moire pattern inspired.

golden ratio

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Reza Tarakol Perspectives Lecture 02/02/21

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Reza Tarakol Perspectives Lecture 02/02/21

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Photographs through the cosmic lense notes

Non-linear perception.
'what we know changes what we see'- piaget
Our brains can only see/recognize a small part of the universes chemical light (wavelengths). Imagining 'beyond colour'.
'Knowing the world in this way might change the way we see it... without changing its poetics(mystery)'.

'colour hides a great deal of intrictae underlaying phenomena of which it claims to visually speak' a species shorthand

'thermal radiation spontaneously emitted by many ojects can be approximated as black-body radiation' sun, universe

non-spectral (humming birds) we are blind to their world

nature lover- realizing the stars are as infinite and inspirational in relation to imagining technological evolution. To imagine what a wave or digital connection might look like.

Movement

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My sketchbook has been an outlet for my ideas. It starts with ink and fingerprinting to more tactile exploration using collage and clay relief print. the collages become more geometrically complex. Ideas that could've been explored further but i found the collages of shapes the more relevant to my developing ideas about connection.

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to layer over collage and clay relief print.

cluttered, unpredictable ink

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dreamy analogous colours

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Laura Owens work featured in Frieze film 'Painting After Technology'
I'm interested in how Laura Owens create layers to and varied grounds for the figurative and geometric patterns play.
The artist frequently uses grids of different sizes and colours. In this painting (Untitled, 2016. From installation, Ten Paintings) she has mingled intimate patterns of letters and shapes, circular and checkered. She has used varied media such as Acrylic, Flashe, screen printing ink, charcoal, sand and wallpaper.

full analysis on RF.

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My journal contains most of my earlier explorations from Antony Gormley inspired drawings to Otobong Nkanga's clay relief experiments.
I used ink, biro, pencil and collage in response to Antony Gormley and following previous ideas in unit 1.

I had taken interest in the human figure interacting with a tech object and trying to visualize connection in different ways. This expression of shape as connection has been prevalent throughout unit 2 however I have stuck with the parakeet as that iconic figure to reinforce this idea of connection. I believe anyone can relate to this feathered figure, rather than a human body which may change or does not resemble their own.

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cut and paste tools bring depth an layered effect to crowded version

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Layered behind a cut-out painted parakeet is a picture of my screen not visible to the naked eye. This conflict of pixel and grid is called 'moire' (interface). i find these visuals interesting because of the cross hatches and the colours integrating and transitioning throughout the image. A constance and vastness about this blank screen, wavelengths and connections that our brains cannot comprehend.

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89x77cm. Fire Place Screen.

A black primed piece of wood used to insulate the house. I wanted to re-use the digital collage from the beginning of this unit. After painting the parakeets I used cold colours I thought would provoke the visual of a digital screen reflection. I used a squeegee to drag the paint in a vertical line but also used it to create shapes and rigid outlines (on left side). The window of where it had to be placed was on the right side so it concentrated the colour here and used black primer to go over some areas on the left side later.
The squeegee tool allows the uncertain arrangement of paint across the board. I had taped across the stretched parakeet figures so the layer of paint would not find them, this confliction is apparent again.
Next time i would use purple-metallic paint as i think this replicates a screen shine more clearly.

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Screen print exploration #3

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This was a test piece using the screen protector which printed this copper negative of the clay tech reliefs.

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A digital print of a monochrome work using rags with dabbled paint over the blue print. Reworking this piece using digital tools captures the adaption of modern life.
The abstract piece is reflects uncertainty through formless exploration. The use of digital media makes the piece certain as the computer determines an exact copy of the original painting.

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Metallic gold base colour to reveal the basis of modernity, resource extraction. The precious stone colour can be interpreted as the precious earth. This can be used to build layer on layer like new technologies.
I intend to paint another section of this previous painting to explore layering and its relation to technology.
This black abyss like space is undefined and  uncertain like visualizing constant exchange of information and digital networks. I'm embracing the boundaries of the canvas as they embody the parameters of a screen.
#OTOBONGNKANGA #LAYERING #PRECIOUS #MATERIALS #LAND

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I really like how this turned out. The combination of these dreamlike colours, honey yellow/ gold and analogous set of purple, blue and green. The rigid concept is still enforced by the digital collage and black layer of paint surrounding the figures. The boundaries of the canvas also reflect the certain element to the digital technologies we are familiar with today.
However, next time I will use the collage in the piece to determine the exact placement of these forms.
The layer of purple paint that highlights the gold grounds has a certain shine to it dues to the excess linseed oil. The shine resembles one of the screen highlighting the digital concept. A movement of directional brushstrokes reminds me of movement in infomation which is always uncertain. I want this confliction to be visible in my work.

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Here i explore layering recent painting experiments. Firstly i used the clay molds of digital objects to make the blue impressions in the background. I then painted over this in oil the collage configuration of previous digital work. i really like how the shapes from the collage flow and lead your eye into other pieces. i would like to add more layers of paint or collage to to further complicate optically. To distract a viewer in a number of ways.

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L: laptop and phone relief prints.
R: wire impression clay print onto watercolor and collage layered above.

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using clay and paint to create a relief print. i made a spiral of interlocking wires and pressed it into the clay this created intense marks and lines in all directions. once dry i painted it blue and pressed it into the paper. i really like the fragmented result with traces of red clay within the blue pigment. this resembles Otobong Nkanga's 'the weight of scars' orange scars of the earth. the holes replaced by invisible  messages of code. this was another kind of fragmentation achieved but i really like this and will try it out larger scale.

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Further sketchbook exploration of clay and collage

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Further sketchbook exploration of clay and collage

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'Today's integrated circuits - several million transitions on pure silicon surfaces the size of a thumb - mock any exhibition' Friedrich Kittler

Recording touch. I made a mold from clay to make a silicone impression of my hands, trying to manipulate clay in the way we might use technology.
I was motivated by the quote by Friedrich Kittler and felt it was an important material to explore since it is so versatile and prevalent in tech design.
I enjoy the speckled leftover clay on the silicone. This reminds me of the pockets of trauma in Otobong Nkanga's work.
An experimentation in response to Otobong Nkanga's work.

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recordings of familiar places and things. I visited a place of nostalgia, a recreational ground here i focused on areas of land-trauma like the river banks and gates. i also used the clay to mold the shape of my iPhone home-button and my laptop keyboard.

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Otobong Nkanga, 'The weight of scars' 2015 Tapestry.

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Otobong Nkanga, 'The weight of scars' 2015 Tapestry.

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Square 1: clay model (4) within warped collage painting. oil on canvas.

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Square 1: clay model (4) within warped collage painting. oil on canvas.

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The clay model is hard for me to dissect and is unrecognizable to other people. As this painting is small i was prepared to try out new things and not pay attention to so much detail... once i go larger scale i will add more detail to the maps/arrows.

Dark space -Uncertainty // transcend into light to reflect transition of information.

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AG response

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Painting to visualize little understanding of the complexities of AI and global networking. I have included a drawing of myself to represent the human form in this virtual space Antony Gormley inspired.

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PAY ATTENTION TO INTERSECTIONS
Antony Gormley's 'breathing room'2010 drawing where leading lines extend to the center of a dreamlike prism. The warm hue of the intersecting lines protrude towards the viewer. I am particularly focused on how Antony reveals a square space, a familiar sight when looking at computer or phone screen. A space that is infinite but in reality it is as small and fine as these lines.
#LAYERING

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'Looking For Utopia'
oil on canvas panel 50x30cm.

This eye-catching painting of modern distortion, leading the eye through the canvas. a movement of its own. The parakeets contextualize being outside of ones home, a new arrival and adaptation into technological leap (and more personally) London life.

i would like to take this forward by exploring our relationship with tech rise like i had adapted to use Photoshop to produce this work.