I’m working on having some of my flash printed for people to be able to look through if they’re waiting at the shop ~ I found myself having fun trying to puzzle-piece these separate pieces together ~ perhaps I may turn these into large-scale prints?
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 ~
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.
I am currently experimenting with two types of equational functions.
Z Radial - Applied to sphere
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?
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’.