The works are made from composites of still photos (Summer 2020) or screen shots from video (Fall, 2020 and Spring, 2021) that were taken with the phone while driving through Mix Canyon in Northern California shortly after the area was burned by the LNU Lightning Complex fire in late August 2020.
In the early days of the Pandemic I spent many early mornings and late afternoons watching the light as reflected on the succulents growing outside my kitchen, snapping compelling frames as I saw them.
Later, on the computer, I disected the files, selecting individual rows of pixels from the x and y axes, continuing in my experiments into what happens when just a tiny amount of the digital information available is used to represent some aspect of the whole. Someof the results can be seen in the Succulents section. I then selected small pieces of the new files, seeing nuances of the plant edges; the reflected light; the silken threds of webs immeshed in the plants; and the ever changing shadows..
I dropped a stone into a jar of water to see how it would scan when it was wet. The jar was on my black table, with the sun streaming through it. I started photographing the stone in the jar, and layering the images as in all of the Composite work - deleting a different but random eight ninths the pixels in each layer before flattening the whole thing.
A sub zero day along the Hudson in Piermont, NY,
Looking at each kernel during lunch, I tried scanning and processing a few of them.
A guest commented on the color of the "Indigo Kumquat" tomatoes I was growing in my garden
Hiking in the Sierras, I noticed and collected some distinctive chips of granite along the trail. My experiments with the layering of their patterning, watching how the computer interpreted their nuances pixel by pixel, became the basis for the Composite work.
The work was created for a show at Chandra Cerrito Contemporary in Oakland in 2016. I photographed the floor of the gallery space where the work was to be shown on a dark rainy day. On the computer, I noticed that the quality of the light changed radically from one side of the room to the other, as one side had more light from the fixtures and the other more from the dark daylight. The floor itself had a grid pattern left from a past tile job, and many other remnants of age.I condensed each file by directing the computer to reduce it to one row of pixels in each direction, and then interwove thos two rows to create the finished work.
For a show on the Stanford campus I collected silicon wafers from the Nano-technology Lab.
Embodiments of Time
Time-lapse panographic images taken with the phone. The phone records time as it interprets what it 'sees' as I move through the lanscape, walking or in a vehicle, or standing still as something moves past the lens.
Two rows of pixels, one vertical, one horizontal, systematically selected from a file; then systematically digitally interwoven on the one- dimensionalplane of the screen before being printed and mounted into a new physical, tangible object, dependant on its source for its existence but entirely a product of the machine..