The quadruple pinwheeling pisciforms compose the background forces of this eidolon. They seem so dominant and bold with their colors that they are fighting with the cool light blue foreground design. Intentional or not, it is what it is, and, overall, it works together in an orderly structure. I did leave clues of the squared off graph sketch I made in preparation for the original drawing, which is Happy Zephyrs.
I titled this piece Annulus to signify the light blue shape right in the middle of the picture plane, which looks like a waistline with a belt around it. Annulus is an Arabian word for ring. I learned of that while reviewing the structures of the heart and the aortic arch connecting to the heart.
Inversions, flips, reversals, hue warping, and combining two individual drawings into one piece is what this one’s about. The blue foreground design comes from a piece I did several months ago called Growing Independents. Obviously there’s a political message in that title. Perhaps this one’s alternate title could be Merging Independents to signify the growing awareness that partisan politics, in the traditional sense, are just empty marketing jingoisms.
It takes active oppositional forces for change to start significantly altering superstructures of state. The cool blue design in the foreground can be seen as a relief to the growing heat and tension arising in the background… for now. Its icy and fragile structure will soon give way to the full blown revolution of the zephyrs and proletariats blowing like empty potato chips bags in the background.
Certain patterns must accumulate certain amounts of energy by accomplishing enumerable repetitions, much like the running legs of a jogger, or the curls of a weight lifter. In art, exhaustive oceans of intricate design can come together to make greater coherent wholes, and the transmute into different structures frequently. I captured a certain state here.
An interesting aspect to digital, in contrast to traditional art, is that it never decomposes, deteriorates, or entropies. A piece of art online forever remains the same. I wondered to myself how deterioration, or corruption, could happen to art in the cyber-world. Viruses can corrupt files I thought, and I’ve seen examples art mapped from computer viruses that artists have created before, but these aren’t caused by the forces of time; they’re caused by human factors.
I still wonder how time can deteriorate art seen online. I suppose a computer can become so old that it might distort an image, but it wouldn’t be the internet itself that deteriorates the image. Again, I come the idea that perhaps, if the internet were to be accessible to us indefinitely from now on, the art found on it would never get old, fade, scratch, or decompose. Perhaps it is only the sensory modulators—natural or digital—that corrupt and entropy over time and not that which is perceived. Perhaps we and everything around us is contained in compressed learning experiences that are really artificial in the greater scheme of things, and timelessness exists past the barriers of our physically indoctrinated perceptions.
Art of eVan 