As an artist, my interest shifts between the mysteriousness of what we call the natural world and the way that we humans relate to it, and the concepts that we form to understand it, or the systems we create, to put it to our use. For me, there is an inherent fascination in recognizing hidden connections, may they occur in the physical world around us, or more importantly, in the way we percieve it. Therefore much of my work can be interpreted as visual investigations into the state of our (un)conscious, perceptive nature.
For the series Chorus of Chance I deliberately set out to draw aesthetically pleasing marks. I chose the Ipad as a tool because of itís mobile nature and a certain liquidity of process; I like the simplicity and directness of making a mark with my finger. There is something like a mysterious energy under the glass, always at a slight distance, not quite touching my skin. There seems to be an aspect of spontaneous emergence as the marks evolve along a non-linear dynamic, according to an invisible, algorithmic code. The interplay between my hand and the relative randomness and flow of the software creates a new kind of balance and visual logic. In their pure nature, the images I create exist as files only, but out-putting them on a transparent medium has produced a graffiti-like dimensionality that seems to add to the complexity this work intends to express.
The images in the series Chorus of Chance are presented in their most raw form; they are not altered by my hand after the process and the mechanics of the creation are kept intact. The presented images have been extracted as single stills from an evolutionary stream of image-making and can be understood the way generations are understood in nature. They share certain aspects and parts (sub-wholes), but are wholes in themselves. As defined by Arthur Koestler in 1967, they may be compared to what he called a Holon, defining a self-regulating hybrid.
Chorus of Chance exists as single works and also as a multi-image installation.
May 4. 2012