Visual Poetry in Geometry...

John Edmark is on staff at Stanford University as a Lecturer in the Department of Mechanical Engineering & Design.

John Edmark's work is well known. He creates kinetic 3D printed sculptural pieces that, when activated by strobe lighting and spinning,  express themselves as these mesmerizing sculptural works that feel organic in nature. The works incorporate a repeating geometric shape in a specific placement pattern. Geometry is a potent specialized application of math concerning some fundamental forms. Edmark uses the power of geometric math and the Fibonacci series as the foundation for the design of some of his artworks.

One inspiring aspect of John Edmark’s works is his creations based upon phyllotactic spirals. In research, it has been learned that some structures in nature can be expressed in math. Examples include flower pedal arrangements, avocado layers, pineapple segments, and much more. Edmark incorporates this knowledge about nature's constructs into his works.

For me, the insights Edmark has applied relate to my sensibility of deep appreciation for pattern and design driven by mathematical concepts. The emotional connection goes very far back in my personal history. I experimented using a strobe light when I was around 12yo. I recall spending hours exploring creating different perceptions as I drew dots on a ball I would then spin and watch. It was an experience that was about something greater than the math of it.

Leonardo Drew is a sculptor from my hometown, Brooklyn, NY.  He creates these lovely landscapes from what looks like scrapped wood.  When I first saw one of his pieces hanging in the North Park Mall, in Dallas, it immediately made me think of home and I immediately felt love for the work.  Then to run into more of his work at the Tally Dunn Gallery, was pure joy.  I have since written him to see if he'll allow me to visit him at his studio.

The inspiration for my summer investigations, however, is not primarily due to Edmark or Drew's work. The truth is that for as much of my life as I can recall, I have been intrigued by cases of a large number of things dynamically acting in synchronistic flow. I recall the first time that I saw 100 violinists playing simultaneously in New York City's Central Park; I was 6 years old. I remember the exhuberence that I felt.  Repetition and pattern seems to be the part of Gestalt Psychology that has the tightest grip on me.

On the other hand, Drew and Edmark's works inspired me to answer a question.  The question to myself is, in what ways can I bring a form to life? In particular, I am referring to the form I am calling an inpyha. John Edmark used patterns found in nature and math, and Leonardo Drew used spacial and scale references to urban topography, to tap into emotional responses.  How can I use these examples to elevate my work.

As I continue my investigation, I am producing a video I've titled To Be Black, It is animated but changes at a slow and nearly imperceptible pace. The design takes in to account various principles of Gestalt Psychology theory.  I'm also working on 3 distinct series print studies as well. The prints and video are somewhat represented by the images above, which are studies that I think will result in some interesting final pieces.