Virtual Studio Visit showing Rope Paintings in process for Gorky's Grandaughter.
Friday, June 3, 2016
Friday, August 15, 2014
Wednesday, June 18, 2014
Monday, June 9, 2014
Publication in conjunction with:
THE FOURTH COLUMBIA CONFERENCE ON ARCHITECTURE, ENGINEERING AND MATERIALSMARCH 30 — APRIL 1, 2011
Details of the conference
The traditional modes of production like oil painting made possible the flexible representation of flesh in bourgeois culture.
The development of photo emulsions made possible the instant image, digitalization and the net, the all-over delivery of information.
New polymer materials together with digitally aided technology make possible a new type of composite corporality.
These plastics change the predictability and sensations of objects in relation to the body and between the objects themselves. Examples are numerous but some are as intimate as sex toys and medical silicone or as extroverted and structural as silicone sealants in glass steel curtain walls.
Most uses of polymers are as instruments for the circulation of flows; the tubing between the body and medical machines, the machine parts in the form of gaskets cushioning rigid parts, and in the making of electronic chips.
This role as a sealant, circulant, cushion, gasket, filler or prosthetic make new polymers essentially the passage between bodies and objects. They are a structural plastic passage between rigid entities and soft ones. They are in the interstitial spaces of everything that matters.
They are both what makes information possible and the form of in-formation, an actual process of informing and forming. Plasticity is present at the level of the digital information, hard mold formation, and the distribution of information.
These new plasticities act as the flexible aura between things, a plastic subjectification.
Friday, May 16, 2014
Selection of works from the Paintant Lab
My painting practice has always being assisted by machines. For movements like Pop and Minimalism, interest in machines was related to repetition, serialization and the readymade. In my work, I want to to develop the paradigm of differentiation, variation, and the “ready-grown.” It is no longer the surface of the Campbell Soup can, now it is the altered soup inside the can.
I started using mechanized processes in the early 1990's to exlpore the relationship between hand painting and printmaking using collograph, machine etching, and photo silkcreen. In the early 2000s I started combining paint and digital printing in large scale environmental works. At the present I am experimenting with hand painting and 3D printing to realize pictorial activities (Plastemas) that are impossible to paint by other means.
The Paintant Lab is a log of all of these pictorial experimentations, alterations, arrangements and composites. The effect and mood of the lab is in its multiplicity of pictorial concepts, modes and techniques. It is not contingent on any individual drawing, digital print, animation or 3D printied object. Its force is in the innumerable branches of evolution and mutation through material, technique, space and time.
This presentation of the Paintant Lab was part of a 2014 exhibition Paintant Stories produced by Daros Latin America at Casa Daros in Rio de Janeiro, Brazil.
Drawings: Ink on tracing paper.
Actants: digital prints.
Objects: 3D printed parts and Silicone studies for rope paintings.
Animation paintants: various lengths.