Gerri York Crane 3D_vi was based on the two dimensional image Crane_1_viii Sculpture (2019)

$1,800.00

Artist: Gerri York
Title: Crane 3D_vi was based on the two dimensional image Crane_1_viii
Medium: 3D printed sculpture, plastic, paint, plexiglass
Artwork Size: 36.5 x 18 x 18 cm
Year: 2019
Edition: 3

gerriyork.com

Crane 3D _vi 2019 edition 1/3 3D printed sculpture, plastic, paint, plexiglas image size 36.5 x 18 x 18 cm. $1800

The Sculpture Crane 3D_vi was based on the two dimensional image Crane_1_viii “Consciousness is the result of matter that has been folded and folded and folded until exteriority has been interiority....” 1 (Deleuze) The Fold: Leibniz and the Baroque, a 1993 text from Gilles Deleuze, examines late twentieth century culture while considering folded objects from the Baroque era. It is interesting that he examines folded matter throughout the history of art: Bernini's sculpture, for example. His text also looks at aesthetic expression and the existence of the fold generally in areas such as science, mathematics and philosophy, pointing to obvious examples of the folded; such as, draperies, tresses, costume, (for example, that in Baroque painting), dermal surfaces of the body from birth to old age and so on. The world in this respect is interpreted and expressed as a matter of recurring, folding, continuously changing surfaces, their dissolution into infinity and their progression through time and space. Gerri York’s Fold body of work reexamines the material process of folded paper structures through deconstruction. That is, the original folded, light sensitive photo paper becomes a 2D print, the accidental and phenomenological result of unfolding. These 3D origami forms are first exposed to light in the photo lab darkroom, unfolded and processed as two dimensional photographs, thus exploring Deleuze's notion of exteriority becoming interiority. (where the exposed light did, or did not,reach the photo paper). The photographic digital pigment prints trace to the original small sculpture under the enlarger light, and the resulting black, grey and white abstractions exploit a simpler and subjective presentation of interiority and exteriority. They are suggestive of things revealed and seen, or not to be seen. The prints explore light infused, open-ended forms, infinite boundaries and the mere suggestion of the original sculpture. Furthermore, the photographic paper's materiality is disrupted by physical intervention, such as re-folding, scratching, chemical splashes and so on before exposure to light, creating instability and destruction to the finished image. The images are at the intersection of drawing and photography; they are not photographs as narrative but documents of physical materiality.

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Artist: Gerri York
Title: Crane 3D_vi was based on the two dimensional image Crane_1_viii
Medium: 3D printed sculpture, plastic, paint, plexiglass
Artwork Size: 36.5 x 18 x 18 cm
Year: 2019
Edition: 3

gerriyork.com

Crane 3D _vi 2019 edition 1/3 3D printed sculpture, plastic, paint, plexiglas image size 36.5 x 18 x 18 cm. $1800

The Sculpture Crane 3D_vi was based on the two dimensional image Crane_1_viii “Consciousness is the result of matter that has been folded and folded and folded until exteriority has been interiority....” 1 (Deleuze) The Fold: Leibniz and the Baroque, a 1993 text from Gilles Deleuze, examines late twentieth century culture while considering folded objects from the Baroque era. It is interesting that he examines folded matter throughout the history of art: Bernini's sculpture, for example. His text also looks at aesthetic expression and the existence of the fold generally in areas such as science, mathematics and philosophy, pointing to obvious examples of the folded; such as, draperies, tresses, costume, (for example, that in Baroque painting), dermal surfaces of the body from birth to old age and so on. The world in this respect is interpreted and expressed as a matter of recurring, folding, continuously changing surfaces, their dissolution into infinity and their progression through time and space. Gerri York’s Fold body of work reexamines the material process of folded paper structures through deconstruction. That is, the original folded, light sensitive photo paper becomes a 2D print, the accidental and phenomenological result of unfolding. These 3D origami forms are first exposed to light in the photo lab darkroom, unfolded and processed as two dimensional photographs, thus exploring Deleuze's notion of exteriority becoming interiority. (where the exposed light did, or did not,reach the photo paper). The photographic digital pigment prints trace to the original small sculpture under the enlarger light, and the resulting black, grey and white abstractions exploit a simpler and subjective presentation of interiority and exteriority. They are suggestive of things revealed and seen, or not to be seen. The prints explore light infused, open-ended forms, infinite boundaries and the mere suggestion of the original sculpture. Furthermore, the photographic paper's materiality is disrupted by physical intervention, such as re-folding, scratching, chemical splashes and so on before exposure to light, creating instability and destruction to the finished image. The images are at the intersection of drawing and photography; they are not photographs as narrative but documents of physical materiality.

Artist: Gerri York
Title: Crane 3D_vi was based on the two dimensional image Crane_1_viii
Medium: 3D printed sculpture, plastic, paint, plexiglass
Artwork Size: 36.5 x 18 x 18 cm
Year: 2019
Edition: 3

gerriyork.com

Crane 3D _vi 2019 edition 1/3 3D printed sculpture, plastic, paint, plexiglas image size 36.5 x 18 x 18 cm. $1800

The Sculpture Crane 3D_vi was based on the two dimensional image Crane_1_viii “Consciousness is the result of matter that has been folded and folded and folded until exteriority has been interiority....” 1 (Deleuze) The Fold: Leibniz and the Baroque, a 1993 text from Gilles Deleuze, examines late twentieth century culture while considering folded objects from the Baroque era. It is interesting that he examines folded matter throughout the history of art: Bernini's sculpture, for example. His text also looks at aesthetic expression and the existence of the fold generally in areas such as science, mathematics and philosophy, pointing to obvious examples of the folded; such as, draperies, tresses, costume, (for example, that in Baroque painting), dermal surfaces of the body from birth to old age and so on. The world in this respect is interpreted and expressed as a matter of recurring, folding, continuously changing surfaces, their dissolution into infinity and their progression through time and space. Gerri York’s Fold body of work reexamines the material process of folded paper structures through deconstruction. That is, the original folded, light sensitive photo paper becomes a 2D print, the accidental and phenomenological result of unfolding. These 3D origami forms are first exposed to light in the photo lab darkroom, unfolded and processed as two dimensional photographs, thus exploring Deleuze's notion of exteriority becoming interiority. (where the exposed light did, or did not,reach the photo paper). The photographic digital pigment prints trace to the original small sculpture under the enlarger light, and the resulting black, grey and white abstractions exploit a simpler and subjective presentation of interiority and exteriority. They are suggestive of things revealed and seen, or not to be seen. The prints explore light infused, open-ended forms, infinite boundaries and the mere suggestion of the original sculpture. Furthermore, the photographic paper's materiality is disrupted by physical intervention, such as re-folding, scratching, chemical splashes and so on before exposure to light, creating instability and destruction to the finished image. The images are at the intersection of drawing and photography; they are not photographs as narrative but documents of physical materiality.