Reflections within the Transitioning Grid: Projections

Reflections Within the Transitioning Grid: Merging Structure, Form and Design with Technology

A Laser-Fabricated Collaboration by Merrill Shatzman and Libi Rose

Reflections Within the Transitioning Grid: Merging Structure, Form and Design with Technology, a multi-media collaborative project, visually and formally examines the relationship between organic form and structure.  Photographs of contemporary architecture found in New York, London, Shanghai and Tokyo were the source materials for projections, woodcuts, reliefs and incised paper works that capturing abstractions within the contained spaces of grids.  Additionally, our joint interests in cartography, topography, architecture, archaeology, typography, calligraphy and symbolism were integrated into the pieces by focusing on form, layering, contradiction and the beauty of our chosen subjects. The four bodies of work are united through their subject, their technological development and handmade result.   All tactile images were digitally designed, laser cut and constructed or printed by hand.

Installation: Projections

Reflections Within the Transitioning Grid: Merging Structure, Form and Design with Technology: Projections incorporates a sensor-based lighting system that responds to the presence of a viewer.   The images found in the projections are the most similar to the source material.  The grid is projected within a four walled installation,  The space within responds to those occupying it, by tying the layers of the digitally drawn image in each projection to presence-sensors.  The projections in the installation transition through stages of abstraction and narrative imagery in response to audience movement. This mimics how a city grid shifts due to population movement,  time of day and changes in the weather. The artists’ choice to highlight the grid and illustrate its changeability, in spite of its rigid structure, are especially relevant.  As a result, this emphasizes how the grid and its environment are continually in flux.

Our digitally fabricated project is organically constructed in appearance, with its  responsive and new-media elements integrated without centering on technology in a way that would make the work superficial or gimmicky. Hence, the integration of digital and responsive technologies with traditional methods of working becomes organic and is a novel way for addressing their incorporation in the world at large.

 

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