The overall theme of this work is the organization underling structure of nature. I use photography to study the interaction between light and the physical states of matter. I look for places where there is a process that is continuously churning out unique shapes and objects as they accumulate and reveal their forms that are specific to a certain state of matter.
Color temperature is used as a type of transformative sculptural system, both in painting metaphysically and literally with sculpture. I use polymer clay that changes shape when heated and the forms are an attempt to capture the gesture inherent in the medium itself. The colors are representative of musical keys and therefore their combinations are a deliberate attempt to use harmonics. The interactions of these sculptures and painted/drawn forms are places for possible operations that allow for a language and underlying code to be written. Once this code is established it is possible to use mathematical systems to organize sequences into the future to expand the possibilities of the mind. The depiction of time can be found in all of these works, and as a subject itself in some cases.
This project has culminated in a system that is a music notation in which the shapes of the notes are also the instruments themselves. The properties of matter such as vapors, liquids and solids, are a type of instrumentation that can be used as a form of musical graphic notation. Vapor is the medium that allows for the sound to propagate, liquids provide the lower frequency and crystalline solids the higher frequency sounds. My goal is to use this organization to overlap multiple systems to become one, and therefore a type of language that is less abstract and more in tune with the physical forces.
I do not solely think that the imagination is filled with memories and these are mixed together to create new ideas from these fragments. I am interested in a process where mathematics and systems of logic, that apply abstract parameters that can be altered to produce a continuum of forms and shapes. These forms may bear similarities to forms seen in nature, but this is avoided. By constructing beyond simplified forms, coincidence can be reduced.
I see this process as having its roots in sacred geometry and constructivist thought. But I am following though with a more contemporary eye and aesthetic, not a reductionist methodology, or a strictly mathematical process. I am searching for the poetic feeling of seeing emergent reorganizing physical forces, which become a metaphor for human will power. As well as how the mysterious properties of matter seems to behave and have its own gesture and an animated poetic character.