Experiments

Black Lining

I’ve been collaborating remotely with Black Lining; a team of designers who work with wood and laser-cutting. The team focuses on artworks generated by Tattoo Artists, giving the work a new medium to explore.

public.jpeg
public.jpeg

We agreed on furthering this one, as it seamlessly fit the technical criteria of production (connected lines). I’m very excited about how the prototype turned out. The team is hoping to release these in the next few months! I’m still under the process of experimenting with transforming my drawings into other mediums ~ I’m hoping this experience may provide some insight into different modalities of such translations.

Unfinished but Framed

Acrylic on cotton & cellulose  11 x 14 Inches

Acrylic on cotton & cellulose

11 x 14 Inches

It’s been a year now, and this painting has been sitting in my sketchbook ~ i can’t seem to finish it. I decided to pin it up on my wall near the door as some sort of reminder to get back into it. It caught the eyes of tattoo clients, friends, and family. “Is this supposed to look that way,”, is what I recall being asked the most. I then framed it and hung it up, and no one asks me that question anymore. Does framing play a role in the consolidation of artwork? What does the frame. as a barrier, offer to the work it encapsulates?

What is this?

I’m not sure what this is necessarily about, but i just know that some sort of clarity came out if making it. I’ve become more accustomed to Cinema 4Ds interface, i’m starting to feel more ease with getting ideas across ~ more fluid?

The more i make, the more I discover about my self? Like tiny pieces of a puzzle i’ve been trying to put together for a very long time. One way or another, I hope to bring all of these pieces into one for my final piece. Could the sphere help out?

Fonts & Fine Lines

I’ve been trying to practice straighter lines, one of the most challenging skills to master with body art. Using text as practice has seemed to promote somewhat of a more enjoyable way of giving that skill some attention. I’ve come across a few fonts I feel comfortable tattooing at my current level - I feel confident with bold curves and sharp edges, starting and ending with those make it a little easier to achieve that straight line in between. The body moves, breathes, twitches, and everyone does so differently. It’s become a large part of my current craft, to understand the body I’m working on well enough at the start ~ even if it means starting slow ~

Sketchbook

I’ve decided to open up a separate section on my page for my sketchbook (digital drawings). Drawing is a form of brainstorming for me - especially in this form/style/language. It’s a vulnerability, a skeleton, a foundation of a future idea - or perhaps, quite often, a translation of thought that may just exist as is.

Words to ponder on: 

Mark-making, translation, tool.

Animated Algorithms

I am currently experimenting with two types of equational functions.

  • Sin((u+t)*2.5*PI)*0.8

    • Z Radial - Applied to sphere

  • Sin((u+t)*2.0*PI)*0.2

    • Y Radial - Applied to plane

I’m curious as to how these functions would apply to less symmetrical/basic shapes, such as more intricate poly-formations. Would the asymmetrical shape be able to sustain a fluid animation? Would it break apart? What kind of interesting anomalies would generate?

Simulations

I’ve recently been experimenting with algorithmically relocating planes in meshes using Cinema 4D. I’ve also been working with generating particle turbulence and wind - manufacturing virtual physics. Doing so has expanded the ways in which i perceive objects on a daily basis. It seems as though a hyper-awareness of ‘parts’ provides the eyes with an ability to appreciate the very object itself - as a whole. Using 3D software is starting to widen my understanding of space and time; being able to replicate reality with so many functions is giving me the opportunity to look more closely at my environment - the little parts that eventually make up the whole. 

I’m curious as to how this technique could come into play with future works, or perhaps inform a way of thinking about material, space and time. I wonder what could come out of simulating subtle exaggerations of our physical reality- tweaking with gravity, hyperbolizing wind, adjusting properties of objects. 

‘Reality’ is a very abstract term. Is reality based on a shared understanding of space and thought? Is reality a personal journey that can only be understood and accepted by the passenger? Is reality the grey area in between? Contemplating the fluidity of ‘reality’ and its complete lack of consistency, perhaps could act as a starting point in reflecting on ‘empathy’.