Each artwork in this 12 month long quadriptych series explores the phenology of the four meteorological seasons - Spring, Summer, Autumn, Winter.
Phenology studies the natural phenomena relating to the rhythmic biological nature of events. In this series, phenology merges with wave and vibrational phenomena, known as cymatics; where biodata (electrical conductivity) is recorded from the botanicals at the time of each respective season, are sonified into frequencies with the emergent patterns fixed to paper.
The biodata is transposed into resonant low frequencies via a digital audio workstation. These frequencies are then amplified through a low-frequency vibration generator beneath paper, imbuing fine raw pigments into a state of perceived automatism upon the paper. The emergent patterns that reveal themselves through this process, are governed by a naturally occurring phenomenon known as cymatics - the occurrence of sound made visible - where nodal and antinodal patterns are shaped by resonance and vibration. The autonomous mark making of pigments and crossover patterns reveal an abstract impressionistic landscape; a nod to the source itself.
In processing the sonification inherent in botanicals, and using that biodata to autonomously “paint” resonant patterns, we can view this work as a generative instance
Furthermore, the movement and rhythm recorded from the botanical is determined by the chemistry of the plant, as well as environmental factors (temperature, time of day): these parameters allow the form to emerge - nature is the algorithm.
To set the image, for hours my kabuki brush swirls the emergent patterns of pigment into the paper, rendering a gaussian blur as each colour graduates into the other. I enjoy the physicality and meditative surrender as I trace the made marks into lush gradients with my brush, with full trust in the guidance from its source.
