Carbon-12
Membrane Art is an aesthetic thought that I have been evolving since 2004. Starting with a loose (unframed) membrane, the surface geometry plays a part in creating distinctive expressions and unfolding events. The curvatures re-enact the natural world (containing multidimensional values). However, the idea is only complete when the membrane is unravelled and the results are revealed on the 2D picture plane. This generates the human visual experience, a metaphor for how we view the world.
My recent thinking processes and working methods have extended the expression to interpret the science of particle physics. By constructing either a curled up, or a wavy membrane, I can create what I call 'quantum brushstrokes': either quark brushstrokes — represented by drill holes created on a particular kind of curl (for strong interactions), or electron brushstrokes — represented by saw cuts through a wavy surface (describing electromagnetic interactions). Each of these expressions are similar to the way any artist may make a brushstroke mark on a flat plane — there is initial contact, movement across and then an exit off the surface.
Whichever method is used, Membrane Art holds true — regardless of whether the events made on the surface are painted, sprayed, poured, drilled, sawed, stamped, cracked or any other kind of mark making. As it is the curved nature of the membrane that creates the structural expressions for the work — and provided the work is presented in a flattened 2D form for observation — it is a consequence of the aesthetic thought.
The viewer experiences the results of the work rather than an accrual of the method used. This sets in motion a process of deep reflection, or meditation, reinforcing the realisation that our natural world is formed by complicated structures and events.
My recent thinking processes and working methods have extended the expression to interpret the science of particle physics. By constructing either a curled up, or a wavy membrane, I can create what I call 'quantum brushstrokes': either quark brushstrokes — represented by drill holes created on a particular kind of curl (for strong interactions), or electron brushstrokes — represented by saw cuts through a wavy surface (describing electromagnetic interactions). Each of these expressions are similar to the way any artist may make a brushstroke mark on a flat plane — there is initial contact, movement across and then an exit off the surface.
Whichever method is used, Membrane Art holds true — regardless of whether the events made on the surface are painted, sprayed, poured, drilled, sawed, stamped, cracked or any other kind of mark making. As it is the curved nature of the membrane that creates the structural expressions for the work — and provided the work is presented in a flattened 2D form for observation — it is a consequence of the aesthetic thought.
The viewer experiences the results of the work rather than an accrual of the method used. This sets in motion a process of deep reflection, or meditation, reinforcing the realisation that our natural world is formed by complicated structures and events.
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