An earlier barrage of science news articles and essays on gene editing (viz. CRISPR- Cas9) intrigued me. And once I was able to locate digital data heaps from the Human Genome Project, notions of alternative tech applications -for visual reassembling of genomic data- soon conceptually devolved into a series of analog strategies and peculiarly mutable art-making procedures. Similar to how evolutionary biological errors create mutations necessary for advancement of a species, this rule-based art production system accepts “visual noise” as a vital component of the compositional aesthetics.
The “someChromos” series of collages emerged from contrasts between the HGP original mapped data arrays’ rigid diagrammatic accuracies and the “natural noises” inherent in hand-wrought artwork.
A key goal is to elicit delicate contrasts between sublime precision and organic disarray.
[Dimensions: 30.75″ x 19.5″ (nominal/unframed)]
Special framing, built for transport to exhibition in Berlin, needed to be exceptionally lightweight to reduce shipping costs. I constructed them by overlapping and laminating layered strips of archival foam-core board. Impressively sturdy, the interlocked frames were then covered with laser-printed imagery of nucleotide schema.