Before mobilography, there was abstract artistry. Lines were not lines, shapes not shapes, and colors were not colors. They were representations, symbolic of some other reality. And they were open to the eye and mind of the viewer. Unlimited possibility.
The beauty of abstract was its gravity. The juxtaposition of elements that all had weight, strength, direction, distance and intensity. These elements were all the counterpoint of the other, keeping each other in check, yet holding one another together. If the work was good the gravity of the elements, arranged as they were, would not fly off the page. Nor would the eye. They would not implode in their overbearing manner, or demand the eye to be so fixated as to lose interest.
The World of Possibility
This series was an attempt at getting back to the roots of that abstract world of implied reality. It is an attempt to harmonize the organic and the geometric, the living with the mathematical. The real with the symbolic. The actual with the potential.
We live in such a real world dealing with our abstract ideas about it — the reverse is also true — and somewhere in that I find both a struggle and a beauty to make sense out of things encountered. Contact with reality. This is the portrayal of the possibility, the potential, of humanity. It is an abstract portrait of the lives we live.
In these scenes, no one’s face is fully shown. They are all of us. And all of them are each one of us. From the opening scenes of life to the dimming and distance portals of death. I have transformed fractals and vectors into environment. Transformed color and pattern into extensions of the minds of those portrayed. I have transformed human beings into story.
We grow like trees, and trees like volitional fractals.
About The Series
Each image in the series used Lyapunov Fractals fractal generator as well as DecoSketch to add pattern, motion and emotion to the set. For each image I used PS Touch to layer these elements with the individuals portrayed. Two of them are square, two of them are in portrait format, two of them are in landscape format. They alternate successively between female, male, etc, and from youngest to oldest.