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Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies (detail)
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Studies
woven microfilm
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Grid Animation
video/animation
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
In many regards Grid Studies examines an outdated visual system of organizing and cataloging information while suggesting the abundance of knowledge available today. In other regards the work explores the nature or essence of grids, regardless of the information it contains. Since the text on the microfilm is too small for the audience to read, other characteristics of the media come forward. The patterns, the organization of space, the light and dark areas overlapping each other. The work is playful in that the audience knows there are words, but understand they are not meant for a traditional reading in this context. The construction of work is also playful. We ‘weave’ our words. Here the term is taken literally as long pieces of microfilm are woven in and out of each other creating a micro-chip like image. The process of making the work was algorithmic, repetitive, and mechanical. In addition to technological evolution the work can’t help but also allude to agriculture, architecture, and language.
Inherent within the act of weaving there is the dynamic balance between something present and something hidden; the part of the weaving that is visible to the eye and the part of the work obscured behind itself. However the transparent nature of microfilm enables the lost part of the weaving to become activated again. Relevant. This allusion couples nicely to the reactivation of the discarded microfilm as legible, information specific, layered and complex mass media to an aesthetic, more ambiguous and digestible form of information and pattern - Art. It is here, in the act of weaving and the vessel of a transparent medium, the series ‘Grid Studies’ differs from the well known work of Close, Mondrian, and Albers, the greater known works of our individualized yet anonymous forefathers (or as the case probably was foremothers) and the writings of Rosalind Krauss.
Form Studies #28
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #10
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #11
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #21
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #26
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #25
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #8
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #18
arranged microfiche
Form Studies #27
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #16
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #9
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
Form Studies #4
arranged microfiche
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
In this work Terrasi uses discarded media archives (microfiche) and re-purposes it as visual form. The work alludes to structures and abundance of information, media, and the act of archiving while playing against the action of hand crafted imagery; mechanical against analogue - function against form. The terms discard, recycle, repurpose, and reconfigure come to the forefront within the series.
Form Studies within the Archival Forms series has a linear quality about it. To the past, the photographic mechanized process of generating the microfiche contrasted against earlier forms of writing and archiving. To the future, digital technology erasing the archival forms we grew up with and re-labeling them as ‘discard’. The irony within this series pins the mechanized media evolution against the physical analogue action of Terrasi’s hands cutting, composing, and gluing the fragments of microfiche.
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