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
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.
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.