Dehumidifier Hot Water Heater Series (Appendix F, Supporting Documents for Patent Application) 2015, Monoprint on rag paper (Stonehenge)
The 12 x 16.5-inch prints all have a pair of cylinders flanked by a technical or mechanical object. The shapes are stencils of free hand drawings of a dehumidifier hot water heater designed by me. The first print is a one color lithograph style in which the print resembles a technical drawing or blueprint. The texture in the print is seen in the blue ink and how it was transferred on the paper. The topographical texture is achieved by slightly moving the paper after it is placed on the inked template. The result is a textured blue that does not respect a boundary. The loose lines with sharp, clear contradictory attributes complement the documentation form of the print. The second print uses the same blue topographical textured background as a platform to use more stencils and shapes but instead adding color in lieu of the previous technique. The third print uses techniques from the first two prints, thus unifying this series of loose prints of technical objects.
This series is an exploration of a question I and many others have asked: Can art be informative and invoke emotion? Can a visual document exist as a technical diagram and on a gallery wall? I wanted to explore the dichotomy of loose and tight, clean and messy, informative and uninstructive. Presenting these concepts proved difficult because I discovered that without context these visual presentation can become lost, especially when the emotional anchor is absent.
The origin of my question came when I became interested in the Danish design process. Everything is aesthetically sound, visually stimulating, informative and functional. This concepts very existence highlighted my design flaws and the problem with American design principles, and it’s process. This American notion that the technical and arts are separate is deeply rooted. Assembly instructions, street signs, maps of public places are all informative, sterile, hard to visually consume, and process. The results are many people who assemble furniture by referring to picture of the finished product; people describing themselves as ‘navigationally challenged’ when in fact maps and street signs are notorious for presenting too much information, not enough relevant information, or just poorly composed. Today I am pleased to see answers to my question in many forms and solution such as infographics.
What I lacked in artistic aspect of my series I saw in the works of Chang-Yeob Lee and in modern architectures designs, schemas, and blueprints. All of these works contained technical aspects but for different purposes in a sense. Lee’s work, Synth[e]tech[e]cology 2013, presents the interesting topic of the results of technology and rapid development in regards to the impact of the environment.