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ZOOM
ZOOM
Los Angeles, CA, United States
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ZOOM
Los Angeles, CA, United States
XS [scale of inquiry]:
Zoom originates from an interest in the ornamental excess one often observes in objects when viewed in microscopic detail, and the potential perceptual qualities of such exuberance when amplified. Through a close look at the tenuous relationship between micro-scale pattern and macro-scale form, the project studies the perceptual effects that can be located within the dissonance.
FORM:
This obstinate obsidian mass carries an indexical register of its subtractive formal genesis within its ornament and poché. It shows its work. Beginning with a series of cubes rotated on their diagonal axis (30°, 60°, 90°), and obedient to the resultant series of internal cleavage planes, the design process involved the trimming of the textured, the eccentric, the difficult. Its interior surface illustrates the final extracted phase, while its exterior surface results from an intermediate step in the process. The embedded line work of the exterior surface reveals a still-earlier stage, its idiosyncratic geometries projected onto the intermediate object as a series of topographical contours.
EFFECT:
On a fundamental level, our collaborative is interested in the relationship between form and light. In the case of Zoom, the bright/dark patterns generated when light strikes the object's surfaces obliquely begin to subtly invoke depth - a graphic effect explored by the figure/ground work of op artists such as Bridget Riley and Victor Vasarely. Such work takes advantage of the constraints within the microscopic physical geometries of our own sight organs, demonstrating the manner in which limitations can yield transcendence, by producing depth and animation within the flat and static. Inside, these patterns of light and dark are enlarged and animated, washing across three custom hand-built LED screens and reflected across the interior's faceted surfaces.
Zoom originates from an interest in the ornamental excess one often observes in objects when viewed in microscopic detail, and the potential perceptual qualities of such exuberance when amplified. Through a close look at the tenuous relationship between micro-scale pattern and macro-scale form, the project studies the perceptual effects that can be located within the dissonance.
FORM:
This obstinate obsidian mass carries an indexical register of its subtractive formal genesis within its ornament and poché. It shows its work. Beginning with a series of cubes rotated on their diagonal axis (30°, 60°, 90°), and obedient to the resultant series of internal cleavage planes, the design process involved the trimming of the textured, the eccentric, the difficult. Its interior surface illustrates the final extracted phase, while its exterior surface results from an intermediate step in the process. The embedded line work of the exterior surface reveals a still-earlier stage, its idiosyncratic geometries projected onto the intermediate object as a series of topographical contours.
EFFECT:
On a fundamental level, our collaborative is interested in the relationship between form and light. In the case of Zoom, the bright/dark patterns generated when light strikes the object's surfaces obliquely begin to subtly invoke depth - a graphic effect explored by the figure/ground work of op artists such as Bridget Riley and Victor Vasarely. Such work takes advantage of the constraints within the microscopic physical geometries of our own sight organs, demonstrating the manner in which limitations can yield transcendence, by producing depth and animation within the flat and static. Inside, these patterns of light and dark are enlarged and animated, washing across three custom hand-built LED screens and reflected across the interior's faceted surfaces.
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