suckerPUNCH: Describe your project.
clark THENHAUS / Endemic: Fluid Matrices is a series that begins with analogue, alchemic drawings using various types of ink, dye, wax, salt, and water each with organizational and material tendencies fostering a drawing technique dependant on the interaction of fluid material effects. The analogue drawings as shown are image-adjusted stills of an otherwise durational process of mixing, repelling, contracting, or material resistances which initiate the drawing as a field underpinned by sensing over deciphering, meaning they are better described through density then area, for example. The drawings are multi-scalar, textural, atmospheric, sensate, and tangible material compositions through which field, zones of indeterminacy, material tendencies, boundaries, and effects are curated through color, texture, transparency, shifting hierarchies, and idiosyncracies.
Secondary to the analogue drawing process is a pivoting towards the digital in which parametric and scripted environments are extended to transition between drawing and surface and/or between drawing and re-drawing. It is accepted that in so doing, a loss or muting of certain effects and qualities within the analogue drawing occurs while others are explicitly extracted in a definable manner, and in this way the translation hinges on selective abstraction. The digital environment capitalizes on the global and/or local organizations inherent in the drawings as translated surfaces or pressurized re-drawings, however the digital is suppressed as a tool for optimizing the drawing as regular gradients of modulated components or literal tracings, aiming instead to reveal new readings of textural, organizational, or compositional families related to variations or difference within the drawings. In the first instance, surfaces are produced which crystalize the fluidity of the drawing into variable parameters of scale, density, intensity, and typologies of influence (ie, color, relief/layer, boundary, spatter, divergence, etc.) as hyper-tessellated planar frames. Conversely, other surfaces are introduced through a softer digestion of the drawing and translated into a field of ‘digital berms’, mounds, and a relative topographic flaccidness. This series also aims to translate from analogue drawing to digital re-drawings through simulated pressure and pseudo-simulated behavior. Through a ‘digital stippling’, a matrix of vertices, subsequently connected with lines, index the analogue drawing and depart from there to re-draw, or continue the drawing through digitally applied forces and simulated pressures. These fluid matrices extend or prolong moments and qualities, such as an eddy effect, within the analogue drawings into digitized continuations through a fluid matrix of vertices + force. This work is primarily interested in the merging of fluid material drawings with contemporary digital techniques as an exploration of what such companionship between the drawing and the digital might offer as organizational effects, simulated behaviors, and textural surfaces within architecture, landscape, and drawing technique.
sP: What or who influenced this project?
cT: Hubble photography, Landsat images, Powers of Ten (Eames) . . . things of ambiguous/shifting scale and color.
sP: What were you reading/listening to/watching while developing this project?
cT: The Lumineers (tracks: Ho Hey, Morning Song, Slow It Down), Of Monsters and Men (tracks: Little Talks, Yellow Light, Love Love Love), and Youth Lagoon (tracks: Posters, Cannons, Montana).
sP: Whose work is currently on your radar?:
cT: Jason Payne/Hirsuta, Perry Kulper, and Tara Donovan.