This work is based on the creation of imperfection by perfect means. Digital computations, modeling, rendering, and fabrication methods have mostly aspired to create objects of perfection – some of impossible perfection. It is interesting to have such exacting technology used to create imperfect objects while still exhibiting their perfect roots.
In these pieces, the almost always perfectly represented curved surfaces are shattered into small jagged segments. The visual curvature invites touch as at the same time the sharp corners repel. By using certain production techniques that allow for malleable materials, as viewers touch and rub the piece, the originating curves will slowly return to their perfect self. A slower metamorphous would be accomplished, depending on material, by erosion of wind or water or some other force, natural or artificial. But touch is the preferred method.
All the above pieces are based on a rectangular base, 11304, is based on a circular form where each ring increases the amount of shattering as it is projected from the center.
All the pieces are approximately 24” x 24” x 6” high.
The rapid prototyping method should use materials that can be rubbed away or touched. Each piece can be on its own stand or a series of pieces can be placed on a single larger stand. A choice of pastel translucent colors would be the best. A clear plexiglass base is under each piece, glued in place. The top of the stand has a hole cut in it to accept the plexiglass base so that it is flush with the surface of the stand. A light is placed underneath in a reflective housing. The stand should be placed in a dimly lit space.
The original inspiration is taken from a digital art piece developed by Georg Nees titled "Cibic Disarray" created 1968-1971. He developed an image from an array of rectangles, where random rotations and offsets were applied in an increased fashion. In this case a series of algorithms were developed that consisted of linearly controlled random functions that establish the offset, rotation, and size of each of each of the segments. A variety of linear path are considered: increasing to one edge, increasing and decreasing to center, increasing to two edges, radial from and to the center, and radial to the corners. Heights are determined by a combination of mathematical functions that would have formed a curved surface if not segmented.
In addition to rectangular pieces the same process is applied here in a circular form. The rings are segmented in a similar fashion as the original rectangular forms.