LP 12-3
2012, acrylic on canvas, 150 x 242.5 cm (59 x 95 1/2 in)
Organic contained within artificial. Two motifs, shapes of human effort and organization, natural strokes and textures. Both bared to the eye but subordinate to intent. In each is tension, not yet completely expressed, but unable to be hidden or as of yet, resolved.
SP 12-5
2012, acrylic on plywood, 29 x 44 cm (11 1/4 x 17 1/4 in)
Harmonized natural and constructed shapes. Brushstrokes beget striations in orderly rows. Boundaries both within and otherwise suggest more to be revealed, a larger whole than what is immediately evident. Shown, nature and will in microcosm. In the closest view, perhaps their most mutually beneficial.
SP 12-7
2012, acrylic on plywood, 30 x 45 cm (11 3/4 x 17 3/4 in)
The end of the series. A simulacrum of nature left to organize itself. On wood formed according to human terms, new shapes manifest of their own accord. The absence of outside control in its appearance gives it a certain inscrutability, but remains dependent on the media for it.
SP 12-10
2012, acrylic on plywood, 30 x 45 cm (11 3/4 x 17 3/4 in)
Nature is the organizing principle here. Stiff regularity gives way to pleasing, meandering shapes, propelled along by its own sense of momentum. Regular circumscription becomes more a matter of caprice than planning. Texture follows suit. It comes about by its own terms, forming a larger design through the progression of its own fancy.
Study 1
2005-6, graphite on paper, 107 x 234 cm (42 x 92 in), Collection Bear Erickson
Foreshadowing.
Faceted search
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Reference material:
"As We May Think" by Vannevar Bush from the July 1, 1945 issue of The Atlantic.
http://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/
LP 12-2
2012, acrylic on canvas, 150 x 225 cm (59 x 88 1/2 in)
A spontaneous enigma. Regimentation immediately invites attempts to decipher, and it becomes a sphinx. It is a matter of ease rather than passion, but becomes transfixing. In its inscrutability, shapes present themselves, but are ambiguous as to whether they are intended or accidental.
LP 12-1
2012, acrylic on canvas, 150 x 225 cm (59 x 88 1/2 in), Collection Frances Schultz and Tom Dittmer
The beginning of the series. It sets the tone for what is to follow. Natural space and idea rendered in a human mode of byzantine complexity. Angular tension vies with organic order. Organic ease cracked and fractalized under the effort to capture it in a more simple way.
fractal |ˈfraktəl | Mathematics
noun
a curve or geometric figure, each part of which has the same statistical character as the whole. Fractals are useful in modeling structures (such as eroded coastlines or snowflakes) in which similar patterns recur at progressively smaller scales, and in describing partly random or chaotic phenomena such as crystal growth, fluid turbulence, and galaxy formation.
adjective
relating to or of the nature of a fractal or fractals: fractal geometry.
ORIGIN 1970s: from French, from Latin fract- ‘broken,’ from the verb frangere.
Dictionary is an application developed by Apple Inc. as a part of OS X. The application provides definitions and synonyms from various dictionaries, Wikipedia articles and a glossary of Apple-related terms.
Dictionary was introduced in OS X 10.4 with the New Oxford American Dictionary and Oxford American Writer's Thesaurus (as well as the Wikipedia and Apple sections).
LP 12-4
2012, acrylic on canvas, 150 x 242.5 cm (59 x 95.5 in)
Nature's contest with contrivance resolved. Orderly pride in contest with ambivalence is the basis of the dialectic. Ultimately, it can best be understood in the interaction of its parts; the compromise between the natural and the artificial reaches its own order.