Statement

My practice centers on two seemingly divergent media and methods: One group of work (String/Rope/Cord) is “hands on” using a variety of traditional and non-traditional materials . The other (Reflect/Spirit/Light) is photographically based, and mediated by machine-based interventions.   These two practices though are actually conceptually and formally closely related.  Both use geometric patterns and forms as starting points, to be “messed around with,” producing art that is  surprising, personal, idiosyncratic and engaging.  Both can be read as colorful abstractions but engage as unusual perceptual properties. 

 

The Reflect/Light/Spirit work on laser shaped reflective acrylic sheet, draws from an iterative photographic process. The shapes, surface patterning, and unique off the wall mountings, generate illusions of solid or bent structures hovering in space, that typically jolts viewers. The volumetric illusion is uncannily persistent despite awareness of these objects true nature . 

 

The current “String/Rope/Cord” work is built upon woven string, etc., along with various fabrics and mesh, on canvas. Initial grids created are disrupted, painted and layered with swatches of various fabrics and material. Some colored strings break free of the grid and gracefully meander through-out the picture plane, which appears increasingly networked and organic.   While mounted on flat supports, multiple layers are visible through through interruptions in the material. Viewed closely, the discrete physical nature of the layers, some of which focally protrude, imbues a spatiality to the surface, which dramatically contrasts with its overall flatness. The initially perceived flatness of these pieces is, in a sense, illusory, just as the initially perceived space occupying nature of the flat mirrored pieces are illusions.  

 

Both types of work can best be appreciated in person, moving and looking

from differing distances, perspectives and lighting angles.  In other words they depend upon embodied observers’ active interaction. The art as static objects can be captured by photography, but the experience cannot.

Copyright 2014-2017 Laurence Elias.  All rights reserved

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