ยซ๐๐ท๐ฆ๐ณ๐บ๐ต๐ฉ๐ช๐ฏ๐จ'๐ด ๐ณ๐ถ๐ฏ๐ฏ๐ช๐ฏ๐จ ๐ด๐ฎ๐ฐ๐ฐ๐ต๐ฉ๐ญ๐บ, ๐ข๐ฏ๐ฅ ๐บ๐ฐ๐ถ?ยปยน
In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally ยซset to driftยปยฒ in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.
Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.
After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.
Drifting, la ยซdรฉriveยปยณ, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfโdiscovery.
(1) ๐๐ถ๐ฑ๐ฆ๐ณ ๐ค๐ฐ๐ฎ๐ฑ๐ถ๐ต๐ฆ๐ณ ๐๐๐9000 ๐ช๐ฏ ๐ค๐ฐ๐ฏ๐ท๐ฆ๐ณ๐ด๐ข๐ต๐ช๐ฐ๐ฏ ๐ธ๐ช๐ต๐ฉ ๐๐ข๐ท๐ฆ ๐๐ฐ๐ธ๐ฎ๐ข๐ฏ (ยซ2001: ๐ ๐๐ฑ๐ข๐ค๐ฆ ๐๐ฅ๐บ๐ด๐ด๐ฆ๐บยป, ๐. ๐๐ถ๐ฃ๐ณ๐ช๐ค๐ฌ, 1968). (2) ยซ๐๐ณ๐ช๐ง๐ต๐ช๐ฏ๐จยป ๐ช๐ด ๐ข๐ญ๐ด๐ฐ ๐ข ๐ต๐ฆ๐ค๐ฉ๐ฏ๐ช๐ฒ๐ถ๐ฆ ๐ถ๐ด๐ฆ๐ฅ ๐ช๐ฏ ๐ฆ๐ข๐ณ๐ญ๐บ ๐ท๐ช๐ฅ๐ฆ๐ฐ ๐ข๐ณ๐ต: โ๐ฃ๐บ ๐ข๐ญ๐ต๐ฆ๐ณ๐ช๐ฏ๐จ ๐ต๐ฉ๐ฆ ๐ต๐ช๐ฎ๐ช๐ฏ๐จ ๐ฑ๐ถ๐ญ๐ด๐ฆ ๐ฐ๐ง ๐ต๐ฉ๐ฆ ๐ด๐ช๐จ๐ฏ๐ข๐ญ, [โฆ] ๐ข๐ฏ ๐ช๐ฎ๐ข๐จ๐ฆ ๐ค๐ฐ๐ฏ๐ต๐ช๐ฏ๐ถ๐ฐ๐ถ๐ด๐ญ๐บ ๐ฅ๐ณ๐ช๐ง๐ต๐ฆ๐ฅ ๐ฉ๐ฐ๐ณ๐ช๐ป๐ฐ๐ฏ๐ต๐ข๐ญ๐ญ๐บโ (ยซ๐๐ฐ๐ต๐ฆ๐ด ๐ต๐ฐ๐ธ๐ข๐ณ๐ฅ ๐ข ๐ฉ๐ช๐ด๐ต๐ฐ๐ณ๐บ ๐ฐ๐ง ๐ช๐ฎ๐ข๐จ๐ฆ-๐ฑ๐ณ๐ฐ๐ค๐ฆ๐ด๐ด๐ฆ๐ฅ ๐ท๐ช๐ฅ๐ฆ๐ฐยป, ๐. ๐๐ถ๐ณ๐ญ๐ฐ๐ฏ๐จ, 1970). (3) ๐๐ณ๐ฆ๐ฏ๐ค๐ฉ ๐ธ๐ฐ๐ณ๐ฅ ๐ง๐ฐ๐ณ ยซ๐ฅ๐ณ๐ช๐ง๐ตยป (๐ด๐ฆ๐ฆ ๐ข๐ญ๐ด๐ฐ ยซ๐๐ฉ๐ฆ๐ฐ๐ณ๐ช๐ฆ ๐ฅ๐ฆ ๐ญ๐ข ๐ฅ๐ฆ๐ณ๐ช๐ท๐ฆยป, ๐. ๐๐ฆ๐ฃ๐ฐ๐ณ๐ฅ, 1956).
