While Christine Soccio, John Spano and I embarked on our collaborative installation[link coming soon] for Fourfold, (I just threw a lot of links at you... I'll give you a second to mine them. Go ahead, I'll wait right here...) we each also began working on individual projects that would be informed by each other's practices in the spirit of the collaborative exhibition.
These two QR code mandala drawings are the result: Meditation 1.4.1 (Thusness, Elseness; Fourfold [RJP] and Meditation 1.4.1 (Thusness, Elseness; Fourfold [SPH].
During the first half of the exhibition in Newark at Solo(s) Project House, there was also a corresponding exhibition in its sister space in New York, R.Jampol Project(s). Each drawing hung in one of the two venues and the QR code, when scanned, would take the viewer to a live feed video of the other venue. Once the second exhibition in NY closed, the QR switched to a live stream of the Newark venue, so the viewer would see a quasi-recursive live video of himself viewing a live video of himself viewing a live video of himself... you get the picture. And here's how I got to the picture:
The imagery began with Christine's Ammann Grid, an aperiodic pattern central to a lot of her work, which has underpinnings in particle physics and quasicrystals.
Then I masked off the floor plan of the gallery on my paper, to become the basis of the mandala structure ("Thusness" mandalas, after all, are traditionally floor plans of sacred spaces like temples, which double as architectural metaphors for the cosmos).
Then, borrowing from a technique I had developed in previous drawings in my Meditations series, I overlaid the grid onto the paper and began tracing it, impressing the lines into the page below.
That would allow me to then rub charcoal over the paper in a style reminiscent of John Spano's smoke installations, and reveal the gridlines underneath. Smoke, revealing the underlying aperiodic structure behind the cosmic diagram.
Next, borrowing from my own apophatic tool bag, I used erasure to create the QR code, masking off and erasing out the white parts of the code, pixel by pixel.
The final step was to overlay the detail work on the floor plan shape itself, technological symbolism reminiscent of my first QR mandala, Meditation 1.1
And the final product:
Lastly, I repeated the process for the second drawing, using the floor plan of the second venue, and a more radially asymmetrical composition, which I felt not only reinforced the floor plan of the space, but also the de-centered nature of the emerging post-modern cosmology, delivering truth through a physically and digitally bifurcated space.
|Meditation 1.4.1 (Thusness, Elseness; Fourfold [RJP])|
After the close of Fourfold, I'm planning to recode the QR codes to send the viewer to compiled footage of the exhibition in lieu of the live stream. It raises the interesting question of temporal, site specific work in a collection context. One of the many intriguing problems of New Media art, but, in light of the impermanence of conventional sand mandalas, perhaps a fitting one.
A Directory of the other posts about this project:
THE COLLABORATION:Fourfold - A Collaborative Exhibition - our first site visit and the beginnings of our concept for the show
Fourfold Collaboration - building and installing the main collaborative installation
INDIVIDUAL WORKS:Fourfold - Meditation 1.4 - Behind the scenes of my site specific drawings for the exhibition (You are Here)
The Threefold Fourfold, In Twofold Fivefold - Behind the scenes of my fourfold projection negation project
FINISHED PROJECTS:The Finished Fourfold: Collaboration and Multi-Site Exhibition - An overview of the finished exhibition
The Final Fourfold (Four Now...) - Images from the opening reception and other events