Painting design
Sector
Tools
Method
Automation
Year of begining
2017
Topic
Modular painting design
Photographer
Dreams and Co.
The Painting design is the central project in my work. It serves to define the practical parameters as well as the phenomenological concept of how this visual medium can be handled and the ways of viewing it can be formatted.
The name of the project "Painting Design" also serves as a speculative figure. Design and painting namely, they represent two types of creative practice, at first glance different in their emphasis on the practicality of grasping them.
In this regard, my approach could be characterized as experimental design, because the development of design is conditioned by the continuous reflection of possibilities, limitations and needs arising from work on specific paintings.
When researching painting design, I am interested in how this traditional way of creating an image can add new dimensions to a person's imagination thanks to a specific concept of materiality.
In this specific concept, the materials within the painting are stripped of their original identity in order to acquire a new, performative identity, reflecting or suppressing their original nature.
As part of the innovation of the painting design, I am mainly interested in the first mentioned approach. In order to develop the imaginative potential of the "matter" of the painting, I adapt materials and tools and thus try to look for dimensions of perspective that are only indirectly accessible to humans.
Virtuality
The first such dimension is virtuality. Nowadays known primarily through the digital environment. Virtual, however, is generally a dimension of a given experience that, due to the limits of our own senses, or due to its imateriality, we are unable to experience "on our own skin". As the virtual and real worlds become more and more connected, the question of their synthesis is also a topic for contemporary design.
As part of the painting technology, I developed several methods to use the virtual dimensions of analog material. The first was the method of electron microscopy. Here, rather than the color range, pigments and fillers of painting materials can be observed in the range of micro-corrosion structures, synthetic materials, and their volatility under the current of the electron beam.
Another way of virtual extension of physical material is its analysis by an artificial neural network and the creation of a computer simulation of the original material. When creating such a dataset, it depends on the amount of uploaded data, type-like photos. In this case, I was interested in what types of structures generated by AI could be developed back in physical form. For this purpose, I used a dataset consisting of samples of colored substances and samples of natural minerals, which are commonly included in these mixtures, but their original structure is ground to dust.
Material intelligence
Another dimension that I aim to develop in painting design is material intelligence. It is the responsive capacity of materials and tools.
Within the framework of technology and the paintings themselves, I am developing the hypothesis that living things, just like non-living actors, have the ability to respond to external stimuli with a specific set of possibilities and limitations. Tools and materials are thus activated, they become actors in the creative dialogue within the given work.
Similar tendencies of using imaginative potential can be found, for example, in informal, when the form of the final work was not so important for the authors, but rather the process, the dialogue during their creation.
As part of my project, I approach this phenomenon relatively more formatively and try to specify material manifestations, often considered a mistake in other disciplines, as a certain type of gesture that cannot be completely controlled, but it is possible to repeat it and develop it further.
GLUP
Material intelligence is at the same time an allusion to the trend in current "material design" where a number of "smart materials" appear, which may or may not have more effective properties than natural or other historically used ones.
MALBOT
