View of the installation in the Exgirlfriend Gallery Berlin.
Shaking Flowers (1:25). Video work made in collaboration with Marcus Nebe.
view of the installation in the Festsaal at the HGB Leipzig
- 96
Traversing the Threshold
その他
Traversing the Threshold presents robotic paintings and video works made in collaboration with the media artist Marcus Nebe. The works stretch out from the two-dimensional representation of a painting into the space, and expose the temporal and physical area of the artist’s creative process through the mediums of robotic painting and video.
What could have been executed as one painting constructed of thousands of brushstrokes has instead been decomposed and distributed over numerous sheets of rice paper. I cropped different sections of the master particle generator image and translated the individual particles into single brushstrokes (assigning parameters such as, for example, the size, length, pressure and speed variation of the strokes), before sending it to the robot for the final execution.
The individual paper works are extracted from a complex of computer-generated particles software (Simulation of a World Overview) according to Newton’s Law of Universal Gravitation. Scaled to different sizes, each can be viewed not only as an individual work but also as part of the modular wall installation. Nebe’s video compositions utilize close-up footage he made of the ink and paper interacting as I created the works, offering intriguing temporal perspectives on the material’s response and impact on the act of painting.
The fragility of the ink-infused rice paper work in particular stands in sharp contrast to the industrial robot used to create them. As with Japanese calligraphy (the reference is obvious and undeniable), the brush trajectories and the ink’s behaviour as it penetrates the surface are here of several magnitudes more importance than the perception of the object itself.
What could have been executed as one painting constructed of thousands of brushstrokes has instead been decomposed and distributed over numerous sheets of rice paper. I cropped different sections of the master particle generator image and translated the individual particles into single brushstrokes (assigning parameters such as, for example, the size, length, pressure and speed variation of the strokes), before sending it to the robot for the final execution.
The individual paper works are extracted from a complex of computer-generated particles software (Simulation of a World Overview) according to Newton’s Law of Universal Gravitation. Scaled to different sizes, each can be viewed not only as an individual work but also as part of the modular wall installation. Nebe’s video compositions utilize close-up footage he made of the ink and paper interacting as I created the works, offering intriguing temporal perspectives on the material’s response and impact on the act of painting.
The fragility of the ink-infused rice paper work in particular stands in sharp contrast to the industrial robot used to create them. As with Japanese calligraphy (the reference is obvious and undeniable), the brush trajectories and the ink’s behaviour as it penetrates the surface are here of several magnitudes more importance than the perception of the object itself.
