Artist's Statement

My recent work stems from images related to certain topological, geometric, and physics based theorems. I make drawings and paintings of folded/crumpled paper that has been manipulated in various ways, according to the proposals in these studies. 


‘The Fold and Cut Theorem’ (Demaine, 2007) states that any polygon or combination of polygons may be created by folding a flat sheet according to a given pattern and slicing a straight line across it. The opened sheet will reveal the determined shape in the form of a hole. The study “Fractal Topology of Hand-Crumpled Paper” (Balankin, 2010) shows that a randomly crumpled sheet has organized spatial properties in the arrangement of its facets. A proposal for modeling the structure of dark matter, uses tessellated origami forms as an analogy to the way matter is hidden and folded into the observable universe (Neyrinck, 2008).


Using these ideas to make the subjects for my drawings and paintings, I’m folding, crumpling, cutting, unfolding, arranging, contorting, mapping, and color coding the surfaces. Through this process, I’m playing with the overlaps between these theories and models, inventing improbable connections among distinct areas of study. In their research, information is synopsized using equations and deducing a homogeneous result. By drawing[+painting] the derived models as images, I mean to make the incoherence of the manipulated object familiar, using realism as an invitation for recognition and understanding. From there, I want to create a perceptual slip in the way these drawings withhold and absorb information.


Slices of the original sheet are lost, hidden behind folds in the crumpled paper. Then, scanning the object removes focal depth, or the perspective of distance. Or by photographing the object, the original spatial context is no longer available. The source information for the image is obscured by the lossy-ness inflicted at each stage.
I’m pushing the image further away with each permutation—so that its absence accumulates.


Yet, the evidence of each transformation remains present and traceable in the fact of the drawn image. I love the flatness of the drawing surface: where illogical physical formats and disparate topological theories are compressed into a single illusory+recognizable plane. By carefully rendering the work into singular images, lapses between each physical state are bounded together into the familiar surface of a handmade image. 

REFERENCES:
Balankin, Alexander & Samayoa, Didier & Miguel Andres, Israel & Patiño Ortiz, Julián & Martinez Cruz, Miguel Angel, (2010).
“Fractal topology of hand-crumpled paper.” Physical review. E, Statistical, nonlinear, and soft matter physics. 81. 061126. 10.1103.
Demaine, Erik D. & O’Rourke, Joseph. (2007). “Geometric Folding Algorithms: Linkages, Origami, Polyhedra.” Cambridge University Press.
Neyrinck, Mark C. (2008). “Origami constraints on the initial-conditions arrangement of dark-matter caustics and streams.” Monthly
Notices of the Royal Astronomical Society, Volume 427, Issue 1, pp. 494-501