Kinetic Drawing Number 7, 2009, 32 min. 32 sec

Kinetic Drawing Number 7 comes out of the process of building a databank of 8 micro-animations ranging from 5 to 40 frames (1 second of video is roughly 30 frames per second) that are based on a digitally processed pen and ink drawing from one of my sketchbooks. Working with a musical scale (F# major), I used an 8 octave system and generated a triangle wave tuned to the frequency of each note in each octave in the animation software used to create the work. The colors I worked with were the primary colors of light and reflective color -- red, green, blue, cyan, magenta, yellow, and black -- seven colors representing seven notes in a musical scale. (more...)



Kinetic Drawing Number 5, 10 minutes, 2009



Kinetic Drawing Number 6, 4 minutes, 2009

Kinetic Drawing Number 6 is the sixth in a series of works that attempt to explore the digital image over time, less as a traditional animation and more like a drawing or painting in motion. It is essentially a processed drawing, beginning with pen on paper and processed by various means into the animated work you see here. I am interested in how we view images and the idea of what a literal image over time outside of a narrative context entails. On one hand, it's about the flash of an image in one frame, relating to notions of after image and considering the idea of the image over time. I am interested in the fine line between the physical act of seeing and the proclivity of the intellect to interfere with that experience Ñ that our analysis or thoughts of what we are seeing actually usurps the act of seeing itself. The goal is to envelope the viewer in the experience of viewing, where they momentarily are drawn out of themselves and into the experience of the work itself (in the vein of Schopenhaur's aesthetics or the Buddhist concept of no self).




Here are some new animations I've uploaded as part of my ongoing series of kinetic drawings. The first one is essentially a composite of all three playing simultaneously (basically as I would play them in an ideal situation in a gallery space). The sound of each piece is intended to go in and out of phase with the other thus all three become a single piece that evolves over time.

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