Measuring the fluctuations in electrical conductivity from botanical specimens yields audible rhythmic and melodic information when processed through a digital audio workstation. This biodata is then amplified through a low-frequency vibration generator beneath paper, imbuing fine raw pigments into a state of perceived automatism upon the paper. The revealed patterns are governed by a naturally…
Measuring the fluctuations in electrical conductivity from botanical specimens yields audible rhythmic and melodic information when processed through a digital audio workstation. This biodata is then amplified through a low-frequency vibration generator beneath paper, imbuing fine raw pigments into a state of perceived automatism upon the paper. The revealed patterns are governed by a naturally occurring phenomenon known as cymatics – the occurrence of sound made visible – where nodal and antinodal patterns are shaped by resonance and vibration. The autonomous mark making of pigments and crossover patterns reveal an abstract impressionistic landscape; a nod to the source itself.
In processing the natural sonification inherent in botanicals, and using that biodata to autonomously “paint” resonant patterns, we can view this work as a generative instance.
To set the image, for hours my kabuki brush swirls the emergent patterns of pigment into the paper, rendering a gaussian blur as each colour graduates into the other. I enjoy the physicality and meditative surrender as I trace the made marks into lush gradients with my brush, with full trust in the guidance from its source. I view the work as an intimate collaboration between nature, its hidden intrinsic energetic code, and myself.
The work is a testament to my ongoing dedication to “nature as muse”.
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dry pigment on Hahnemühle etching paper, 80cm x 120cm (31.5″ x 47″)
High resolution digital photograph 2652px x 4323px
