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Digital, Uv Cured Inkjet On Acrylic Mounted To Composite Aluminum And Cut Out On Cnc Router on Acrylic
Size: 47.5 W x 43.7 H x 1.5 D in
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This work is influenced by Islamic Art which has been a big influence on me since I first studied Islamic Art and Architecture in architecture school at Pratt Institute. The organizing concept is the hexagon. At the 6 corners of the hexagons I've transcribed circles. The forms at the center of these circles are inspired by the 45 rpm adaptors used on turntables to adapt 33 rpm records to play 45 rpm records. The intersections of these circles form pointed ellipses. At the center of the hexagon is a spinning hub. With color and form, the work implies a playful kinetic song of spinning wheels. This print is a uv cured inkjet print on acrylic mounted to composite aluminum and cut out on a cnc router. The cut out shape allows my geometric constructs to reveal their edges. The artwork has a 1" tubular aluminum backing frame and wall cleat and is ready to hang. When installed the print floats off the wall and casts shadows of its shape. These are substantial quality prints and high cost to print and fabricate. **Please note that the view in a room with the 6' credenza does not show the piece correctly because the Saatchi online platform does not show shaped prints correctly in this view. I have added an additional installation view that shows correctly how the piece would look.
2020
Uv Cured Inkjet On Acrylic Mounted To Composite Aluminum And Cut Out On Cnc Router on Acrylic
3
47.5 W x 43.7 H x 1.5 D in
Not applicable
Yes
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(b. 1961 – Miami Beach, FL) I was an architect first, having studied at Pratt Institute and practicing for over 20 years when in 2005, a progressive spine disease left me disabled and unable to continue practicing. I reinvented myself as an artist working in the realm of digital media. Because of my disability, I work digitally. At my age, I straddle two worlds, the analog of the past and the digital of today. Working digitally, I question how the digital modality of creating works of art, being in its infancy relative to the history of art, relates to the history of creative expression. Art and technology is converging in our time. For me, technology as a tool empowers my creative spirit. As my work resides in the realm of virtual computer code, I like to think of the code being the artworks DNA and embedded in this code is the soul of the human element that created it. My architecture never left me. It lives on in my artistic practice. It informs me; always thinking about structure, color and rhythm. Creating geometric constructs offers me a form of invention that challenges me both analytically and creatively. Each work is a formal exercise layered on top of a creative one, revealing the duality of my brain. My architectural/engineering brain deeply rooted in my work is now manifesting itself in a new creative process I call “3D Derivatives”. The idea of an artist being derivative often has a negative connotation, as being imitative of another artist. But I’m using this word in a different context; that of something that is derived from a source, in this case the source being a 3d model. Geometric structures are emerging in my 3d explorations as if architecture is being transformed into artwork. My work has been exhibited in the United States in solo and group exhibitions including a solo exhibition at the Frost Art Museum. My work is in private, corporate and institutional collections, among them the Permanent Collection of the Frost Art Museum in Miami and the Cleveland Clinic Art Collection. My work in public art includes a permanent installation at the LGBT Community Center of Greater Cleveland and most recently I was commissioned by the Cleveland Public Library to create “QUADRATALUX’, a 10 x 30 foot art wall for one of its branches as part of the library’s “SEE ALSO” public art initiative.
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