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Crocheted fiberglass with polyester resin. Charting e 98 utilizes a traditional crochet format based on patterns created on a grid, where squares are either filled or left open. Using this charting system, Charting e 98 articulates the first 98 digits of the infinite number e.
Sculpture:Fiberglass on Plastic
Size:65 W x 65 H x 4 D in
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
Born in Prague, Czechoslovakia in 1958, I now live and work in Chicago. A full-time artist since receiving my 1994 MFA from the University of Chicago. I am an artist who uses numbers. I create wall-based geometric abstractions, where numbers are the direct source of abstraction. I invent systems for visualizing numerical values of sequences from the numbers pi and e, and Pascal’s Triangle. Values of digits create the structural foundation. I spent over 20 years creating large works, based on identity narratives, by crocheting fiberglass that was formed by adding polyester resin, a labor-intensive process that engaged my hands at every stage. Number sequences entered my work as part of an expanding identity dialogue. In 2016, I began developing a body of wall-based works, using laser-cut acrylic sheets separated by vinyl spacers. All the 2016, 2017, and 2018 work with acrylic sheet was designed in Photoshop, plotted in Illustrator, was created almost entirely on a laser cutter, and was purely driven by the math. The laser cut work has almost completely removed my hand or the sense of my hand from the final product. I started to explore different ways to directly engage the material with my hand, to make my hand visible in the work, and bring identity dialogues back into the work. In summer of 2019 during my ARV.I residency in Vishovgrad, a village in central Bulgaria, math mapping systems and forms were influenced by my experience of nearby Veliko Tarnovo, Bulgaria’s historical capital. I continue my exploration of creating geometric expressions based on numerical values and combining acrylic sheet with various manual techniques. During COVID-19 closures, with no access to the maker space where I use a laser cutter, I began using hand tools and materials left over from previous projects. At first by combining scrap acrylic pieces with paper bags and embroidery. Currently, I am exploring various relationships between acrylic scraps, industrial felt, and stitching.
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