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Garden of Forking Paths – three digital prints (2016)
The digital prints were constructed through a multi-step, intuitive process while still being grounded in with the concepts of time and information.
After starting to make the knotted tree-like installations, I realized the forms were exceedingly fractal and interesting. I wanted to relate the forms from the installation to similar forms in nature. So I selected some images from the web that showed remarkable fractal like structures occurring in different ways all over the earth – I was particularly interested in the fractal forms that would have taken a long time to arise, such as the Grand Canyon, river deltas and mountain ranges. The universality of these forms is really remarkable and their general shape would guide the basic structure of all my digital prints.
Along side this, while thinking about the relationship between nature and time, and particularly because I started looking at natural images, I started to think about geological epochs as a marker of time. I became interested in the proposed new epoch, the Anthropocene, which states that humans are now the key driver in geological change.
In response to this, I selected two images from the National Geographic one representing humans and one representing the natural world, cut them into squares and randomly arranged them to create a physical, pixelated juxtaposed image that referred the Anthropocene. This technique is known as cubomania and is a surrealist collage technique. This method has been called a statistical approach to collage making it apt to fit in with ideas around information.
The collages were scanned and further edited with my own code to create a mirage between the original and the digital. Finally, these were combined in Photoshop with the original fractal landscape images to form the prints that are presented in the body of work called 'Garden of Forking Paths'.
The titles of the digital prints are also taken from ‘The Garden of Forking Paths’. The colours and the content of the pieces were then chosen to relate to the titles. The colours of the final print was used as a scheme to dye the yarns used in 'A riddle whose theme is time'.