08 May 2013
.D. Doria, who was born in Israel in Tel Aviv, an artist who exhibited now at the international level, recently presented at the Literary Cafe in Rome, from 22 March to 7 April 2013, his solo exhibition entitled Organic Memory. These works are very specific, the result of a creative process and technical complex and sophisticated that the artist has illustrated with high volume, telling us also the genesis of this type of creativity, his particular conception of aesthetics, the relationship very free with reality, understood as a cultural reality and confidence in the potential of technology, when it is used wisely.
Interview by Anna Di Matteo and Federica Cammilloni artist JD Doria:
Israel is a country with a troubled socio-political situation, as your roots have influenced your artistic activity and how you live the confrontation with cultural realities are very different, since you are a cosmopolitan artist who exhibits internationally?
Not 'an easy question this. As an artist I select carefully what content of reality 'emphasize' cause are the ones who then made an impact on my work.
I believe that the contents of a reality 'and the force that the attribute is not something obvious and given a priori. The reality 'has its plasticity' and change with the nuances and across contexts, varies depending on the individual and the depth 'of the level of interaction. Every time focuses on certain aspects and certain skills. In this sense, the complex and difficult reality 'of Israel is no exception.
To pretend that such a reality 'tell each of my work, would limit it to a superficial condition. I choose not to animate my work on the basis of a general political arena, it 'at local level would' at the international level. As an artist, I incorporate the passion I have to track what 'and that' true, real, whatever the level that allows me to meet him.
Your hinterland part of cultural experiences from different fields such as cinema, the show, or writing. How important was this kind of background in your most recent job?
The crucial point of interest for me lies on the boundary of contact between the coagulation of a personal story, the background, which inevitably affects both our being that our choices, and the generative moment, however, in which the 'reality' takes shape, the moment when the work of art emerges and begins a process of becoming.
As an artist I aspire to a creative process that can also be 'free' from the constraints of a route past. In this sense, and 'become a game in which the two sides have developed simultaneously. On the one hand a set of skills ', intelligence and insights from which flows the work of art, and on the other the commitment to continually refine a state of mind more' light, somehow free and conscious of not knowing, that will enable me to discover or be discovered by the creative process.
Surely the ability 'to work with movement, with time and with a team of like-minded people, has awakened in me the sensitivity' to the process and the desire to explode my work towards a multidimensionality 'temporal and plural.
The works on display for the exhibition Organic Memory held at the Literary Cafe in Rome, are the result of a technical process very special and processed. Would you explain it briefly?
I usually start with a small work on paper, using liquid materials (colors) such as ink, glass and acrylic paints. While elaborate composition and lay it down of these substances, I take into account the chaotic process. During the process, the paints do not mix completely, but retain their distinct identity, while the chemical interaction between the colors creates forms and processes that generate images that maintain quality fractals.
The technology is incorporated in the works through two main techniques. The first comprises the application of a scanner in 3D on the painting, to extract a digital image with high resolution. The image produced becomes the basis for a selection process to capture face (through a manipulation of stairs) a series of other images that lie enclosed within the painting base. The images are then extrapolated enlarged and printed on different media.
The second technique relates to the use of the digital camera during the painting process. The camera exposes and briefly capture images in their progress, which then unfold and then come to a resting point in time. These images (which usually disappear without a trace) take shape in various parts of the work, while the process of painting is still happening as a result of the interaction between the various painting materials.
At the end of the process the work emerges as a multitude, a series of images that are both the plural form of the basic status of the original painting, is a series of images mutually independent.
For works of Organic MemoryTu you spoke of "an interest in the future and the radical reading of Aesthetics." Explain what you mean by this expression: how do you trace an aesthetic form through what unfounded and resetting the form itself?
I see the aesthetic as a verb. Through my work I try to free it from being relegated to appearance, it does not matter if s' "object" at the end, or the person who contemplates it. The aesthetic as verb lies in the dynamics of interaction, at the meeting point, 'in the middle', the relationship between the event and the process of becoming aware, in a constant and uninterrupted conversation.
Vector of adventure conscious time to affect the process of being in the making.
And 'that activity' which is based on the intuition that reality, 'basically, and' open, although 'almost' bound by its current state. Beyond 'perceptions of daily free expressions from the immediacy of the form reveals this insight opening, sensual, almost erotic, evoking a state of plasticity'.
Technology makes this look even more 'visible.
We interact in a more and more 'extended with the ability' to change the reality 'in which we exist, and in the near future as we interact with the possibility' to alter ourselves from the ground up? The concept of 'cure becoming', our own becoming, and 'a reality' already 'present and present, who are taking a wide range of implications.
Tell us how has your artistic career before coming to this marriage between art and science.
Many artists are now making use of the technology, which one do you think is the real point of contact between this and the art?
The moment I understood clearly the crucial role that technology has taken and continues to take, and I realized what function plays in the development of our future and that of ourselves, and are formulated in my mind the need to introduce the technology also in my artistic work. Certainly my background in Cinema helps me, as the Cinema and 'art made with and through technology. I started to experiment inspired by this concept, until 'I have not found a path that seemed interesting to me, in the combination of the medium of painting and that of technology. It 'clear that we use technology to modify our constraints on the way we perceive and interact with the world. In my eyes, the use of technology also allows us to expand our imagination, if successfully used, allows us to bridge the gaps and to connect different realities 'between them, allowing us to expose and highlight what' emerges 'from' parties, 'in the middle' and 'otherwise invisible, the continuous trespass half of the next, of a mind in the other. In this sense, the interaction with the technology we currently provide a "basic" perceptual transient, until you manage to integrate it fully into a new vision and understanding of the world.
Israel is a country with a troubled socio-political situation. How have your origins influenced your artistic activity and, you being a cosmopolitan That artist exhibits at an International level, how do you live the confrontation and comparison with realities That are so culturally different?
This is not a simple question. As an artist I select carefully the contents of reality that i emphasize, since they indeed, affect my work.
I believe That the content of reality and how you make it alive Within You is not an a priori given. Reality is plastic, it changes with nuances and context, with individuality and depth of interaction, any timing brings its focus and competence, in this sense, the complex and difficult reality of Israel is not an exception.
Pretending to have it hovering above every work I do would render it a superficial condition. I chose not to animate my work on the ground of the general political sphere, neither locally nor internationally, as an artist I enact the passion to trace the real, the plane Whichever That Allows me to meet it.
Your cultural background of experiences takes origin from different contexts: such as cinema, dance, theater and writing. How important has this kind of background Been blackberries for your recent works?
For me the core interest lays at the meeting point between the 'background', Which Inevitably influences us, our work, our being, our choices, and the moment in which 'reality' is formed. In Particular the borderline with the moment When the artwork Emerges and coagulates.
As an artist I aspire to a creative process as well That can be 'free' from the constraints of an historical path. In this sense it is an ongoing game, I develop both: a milieu of skills, intelligences and Intuitions from Which the artwork is coming out, and the engagement to iterate a state of mind Which is lighter, in a free way and not knowing, out of which i can happen upon something new or be rediscovered by the creative process.
Surely the ability to work with motion, time and teams of like-minded humans, awakened my sensibility to processes, and my desire to explode into painting the multidimensionality of time and plurality.
The works you Exhibited at the Organic Memory exhibition held at Caffe 'Literary in Rome are the outcome of a very elaborate and Particular technical process. Would you like to explain it to us briefly?
I usually begin with a small work on paper, using liquid materials (colors): such as ink, glass and acrylic paints. When working out a composition and laying out these materials, I take into account the chaotic process. In the process, the paints do not merge but maintain Entirely Their disparate identities, the chemical interaction between the colors Creates forms and processes, Which retain Images that generated fractal qualities. Technology is incorporated into the works through two main techniques. The first Involves the use of a 3D scanner on the painting, to extract a high-resolution digital image. The image coming out Provides the basis for a process of selection, to capture (through a manipulation of scales) to series of other images, That lie locked in the base painting. The images are then extracted finally blown up and printed on various mediums.
The second technique Involves the usage of a digital camera During the painting process, and briefly Exposes The camera captures the images in the making That subsequently crystallize into a resting point in time. These images (that are usually lost without trace) take the form while painting process is taking place. At the end of the process, the work comes out as a multitude, a series of Images that are both a plural form of the basic state of the painting and independent Also images of Their Own accord.
For the works of Organic Memory, you spoke of "an interest in the Future and in a radical reading of Aesthetics." Explain to us what you intend with this expression: how can you manage to retrace an aesthetic form through That Which is basically zeroing of the form itself?
I look at aesthetic as a verb. Through my work I try to release aesthetics from being tucked away either as an aspect of the final 'object' or as a quality of the subject beholding it, and to allow it to reside in the dynamics of interaction, 'between', in the relations among the conscious event and the process of Becoming, a never-ending conversation.
Aesthetic is the creative mode of Affecting while being affected. It carries for me the adventure of conscious Affecting the Process of Becoming.
It is the activity based upon the intuition That reality is open at the core, yet 'almost' constrained by its current state. Form exists beyond That Which We Recognize in our daily perceptions, Freeing expressions from the immediacy of it Reveals this almost erotic sensual intuition of openness evoking a state of plasticity.
Technology is making this ever so visible, how do we interact with the ability to fundamentally alter ourselves? the concept of curating Becoming, Becoming our own, is a present reality soon to enter a whole new depth of implications.
Tell us how your artistic motion or development evolved before coming to this combination between art and science.
There are by now many artists making use of technology. Which do you think is the real point of encounter between technology and art?
The moment the critical role of technology Became clear to me, and I Realized the function it performs in the development of our future and of ourselves, to demand to introduce technology in my artistic work Took shape in my mind. Indeed my background in Cinema makes it simple for me, as Cinema is art Realized with and through technology. I Began to experiment around it until I found a path That was interesting for me in combining the media of painting and technology. It is clear That We use technology to alter our limitations in the way we perceive, understand and interact with the world. In my eyes the use of technology Expands our imagination. It Allows us to bridge gaps and realities, That when done successfully, Exposes the 'middle', the constant leaking of medium into the medium, and mind into mind, That by opening a corridor into a new transitory 'home' for perception. Until we can integrated it into our view and understanding of the world.
Text and interview: Anna Di Matteo and Federica Cammilloni.
Translation: Tel Airleas.
Interview by Anna Di Matteo and Federica Cammilloni artist JD Doria:
Israel is a country with a troubled socio-political situation, as your roots have influenced your artistic activity and how you live the confrontation with cultural realities are very different, since you are a cosmopolitan artist who exhibits internationally?
Not 'an easy question this. As an artist I select carefully what content of reality 'emphasize' cause are the ones who then made an impact on my work.
I believe that the contents of a reality 'and the force that the attribute is not something obvious and given a priori. The reality 'has its plasticity' and change with the nuances and across contexts, varies depending on the individual and the depth 'of the level of interaction. Every time focuses on certain aspects and certain skills. In this sense, the complex and difficult reality 'of Israel is no exception.
To pretend that such a reality 'tell each of my work, would limit it to a superficial condition. I choose not to animate my work on the basis of a general political arena, it 'at local level would' at the international level. As an artist, I incorporate the passion I have to track what 'and that' true, real, whatever the level that allows me to meet him.
Your hinterland part of cultural experiences from different fields such as cinema, the show, or writing. How important was this kind of background in your most recent job?
The crucial point of interest for me lies on the boundary of contact between the coagulation of a personal story, the background, which inevitably affects both our being that our choices, and the generative moment, however, in which the 'reality' takes shape, the moment when the work of art emerges and begins a process of becoming.
As an artist I aspire to a creative process that can also be 'free' from the constraints of a route past. In this sense, and 'become a game in which the two sides have developed simultaneously. On the one hand a set of skills ', intelligence and insights from which flows the work of art, and on the other the commitment to continually refine a state of mind more' light, somehow free and conscious of not knowing, that will enable me to discover or be discovered by the creative process.
Surely the ability 'to work with movement, with time and with a team of like-minded people, has awakened in me the sensitivity' to the process and the desire to explode my work towards a multidimensionality 'temporal and plural.
The works on display for the exhibition Organic Memory held at the Literary Cafe in Rome, are the result of a technical process very special and processed. Would you explain it briefly?
I usually start with a small work on paper, using liquid materials (colors) such as ink, glass and acrylic paints. While elaborate composition and lay it down of these substances, I take into account the chaotic process. During the process, the paints do not mix completely, but retain their distinct identity, while the chemical interaction between the colors creates forms and processes that generate images that maintain quality fractals.
The technology is incorporated in the works through two main techniques. The first comprises the application of a scanner in 3D on the painting, to extract a digital image with high resolution. The image produced becomes the basis for a selection process to capture face (through a manipulation of stairs) a series of other images that lie enclosed within the painting base. The images are then extrapolated enlarged and printed on different media.
The second technique relates to the use of the digital camera during the painting process. The camera exposes and briefly capture images in their progress, which then unfold and then come to a resting point in time. These images (which usually disappear without a trace) take shape in various parts of the work, while the process of painting is still happening as a result of the interaction between the various painting materials.
At the end of the process the work emerges as a multitude, a series of images that are both the plural form of the basic status of the original painting, is a series of images mutually independent.
For works of Organic MemoryTu you spoke of "an interest in the future and the radical reading of Aesthetics." Explain what you mean by this expression: how do you trace an aesthetic form through what unfounded and resetting the form itself?
I see the aesthetic as a verb. Through my work I try to free it from being relegated to appearance, it does not matter if s' "object" at the end, or the person who contemplates it. The aesthetic as verb lies in the dynamics of interaction, at the meeting point, 'in the middle', the relationship between the event and the process of becoming aware, in a constant and uninterrupted conversation.
Vector of adventure conscious time to affect the process of being in the making.
And 'that activity' which is based on the intuition that reality, 'basically, and' open, although 'almost' bound by its current state. Beyond 'perceptions of daily free expressions from the immediacy of the form reveals this insight opening, sensual, almost erotic, evoking a state of plasticity'.
Technology makes this look even more 'visible.
We interact in a more and more 'extended with the ability' to change the reality 'in which we exist, and in the near future as we interact with the possibility' to alter ourselves from the ground up? The concept of 'cure becoming', our own becoming, and 'a reality' already 'present and present, who are taking a wide range of implications.
Tell us how has your artistic career before coming to this marriage between art and science.
Many artists are now making use of the technology, which one do you think is the real point of contact between this and the art?
The moment I understood clearly the crucial role that technology has taken and continues to take, and I realized what function plays in the development of our future and that of ourselves, and are formulated in my mind the need to introduce the technology also in my artistic work. Certainly my background in Cinema helps me, as the Cinema and 'art made with and through technology. I started to experiment inspired by this concept, until 'I have not found a path that seemed interesting to me, in the combination of the medium of painting and that of technology. It 'clear that we use technology to modify our constraints on the way we perceive and interact with the world. In my eyes, the use of technology also allows us to expand our imagination, if successfully used, allows us to bridge the gaps and to connect different realities 'between them, allowing us to expose and highlight what' emerges 'from' parties, 'in the middle' and 'otherwise invisible, the continuous trespass half of the next, of a mind in the other. In this sense, the interaction with the technology we currently provide a "basic" perceptual transient, until you manage to integrate it fully into a new vision and understanding of the world.
Israel is a country with a troubled socio-political situation. How have your origins influenced your artistic activity and, you being a cosmopolitan That artist exhibits at an International level, how do you live the confrontation and comparison with realities That are so culturally different?
This is not a simple question. As an artist I select carefully the contents of reality that i emphasize, since they indeed, affect my work.
I believe That the content of reality and how you make it alive Within You is not an a priori given. Reality is plastic, it changes with nuances and context, with individuality and depth of interaction, any timing brings its focus and competence, in this sense, the complex and difficult reality of Israel is not an exception.
Pretending to have it hovering above every work I do would render it a superficial condition. I chose not to animate my work on the ground of the general political sphere, neither locally nor internationally, as an artist I enact the passion to trace the real, the plane Whichever That Allows me to meet it.
Your cultural background of experiences takes origin from different contexts: such as cinema, dance, theater and writing. How important has this kind of background Been blackberries for your recent works?
For me the core interest lays at the meeting point between the 'background', Which Inevitably influences us, our work, our being, our choices, and the moment in which 'reality' is formed. In Particular the borderline with the moment When the artwork Emerges and coagulates.
As an artist I aspire to a creative process as well That can be 'free' from the constraints of an historical path. In this sense it is an ongoing game, I develop both: a milieu of skills, intelligences and Intuitions from Which the artwork is coming out, and the engagement to iterate a state of mind Which is lighter, in a free way and not knowing, out of which i can happen upon something new or be rediscovered by the creative process.
Surely the ability to work with motion, time and teams of like-minded humans, awakened my sensibility to processes, and my desire to explode into painting the multidimensionality of time and plurality.
The works you Exhibited at the Organic Memory exhibition held at Caffe 'Literary in Rome are the outcome of a very elaborate and Particular technical process. Would you like to explain it to us briefly?
I usually begin with a small work on paper, using liquid materials (colors): such as ink, glass and acrylic paints. When working out a composition and laying out these materials, I take into account the chaotic process. In the process, the paints do not merge but maintain Entirely Their disparate identities, the chemical interaction between the colors Creates forms and processes, Which retain Images that generated fractal qualities. Technology is incorporated into the works through two main techniques. The first Involves the use of a 3D scanner on the painting, to extract a high-resolution digital image. The image coming out Provides the basis for a process of selection, to capture (through a manipulation of scales) to series of other images, That lie locked in the base painting. The images are then extracted finally blown up and printed on various mediums.
The second technique Involves the usage of a digital camera During the painting process, and briefly Exposes The camera captures the images in the making That subsequently crystallize into a resting point in time. These images (that are usually lost without trace) take the form while painting process is taking place. At the end of the process, the work comes out as a multitude, a series of Images that are both a plural form of the basic state of the painting and independent Also images of Their Own accord.
For the works of Organic Memory, you spoke of "an interest in the Future and in a radical reading of Aesthetics." Explain to us what you intend with this expression: how can you manage to retrace an aesthetic form through That Which is basically zeroing of the form itself?
I look at aesthetic as a verb. Through my work I try to release aesthetics from being tucked away either as an aspect of the final 'object' or as a quality of the subject beholding it, and to allow it to reside in the dynamics of interaction, 'between', in the relations among the conscious event and the process of Becoming, a never-ending conversation.
Aesthetic is the creative mode of Affecting while being affected. It carries for me the adventure of conscious Affecting the Process of Becoming.
It is the activity based upon the intuition That reality is open at the core, yet 'almost' constrained by its current state. Form exists beyond That Which We Recognize in our daily perceptions, Freeing expressions from the immediacy of it Reveals this almost erotic sensual intuition of openness evoking a state of plasticity.
Technology is making this ever so visible, how do we interact with the ability to fundamentally alter ourselves? the concept of curating Becoming, Becoming our own, is a present reality soon to enter a whole new depth of implications.
Tell us how your artistic motion or development evolved before coming to this combination between art and science.
There are by now many artists making use of technology. Which do you think is the real point of encounter between technology and art?
The moment the critical role of technology Became clear to me, and I Realized the function it performs in the development of our future and of ourselves, to demand to introduce technology in my artistic work Took shape in my mind. Indeed my background in Cinema makes it simple for me, as Cinema is art Realized with and through technology. I Began to experiment around it until I found a path That was interesting for me in combining the media of painting and technology. It is clear That We use technology to alter our limitations in the way we perceive, understand and interact with the world. In my eyes the use of technology Expands our imagination. It Allows us to bridge gaps and realities, That when done successfully, Exposes the 'middle', the constant leaking of medium into the medium, and mind into mind, That by opening a corridor into a new transitory 'home' for perception. Until we can integrated it into our view and understanding of the world.
Text and interview: Anna Di Matteo and Federica Cammilloni.
Translation: Tel Airleas.
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