Dimensional Time painting series in the Williamsburg studio. DT1 is completed. The signature [DIM TIM] is a significant new facet. The implications point to a new narrative, a design fiction, that the “artist” is the cyclops, which is both singular and collective, as illustrated in the “I Love You, Monster” series. The decorative elements are measurement referents, one [the alternating-colored squares] denotes depth [as in water-markers] and sequences of objects simultaneously - and is also a contingency to Mondrian, and functions as an optical dimensional effect relative to the white-wall presentation environment; the number is not only a counting element, but also a compositional and viewer anchor, or incentive for recognition. The 3D additive pieces bridge the vertical and forward-horizontal planes, encouraging viewer self-movement. The final urethane surface rendering necessitates the viewer engaging in self-positioning, in order to “capture” a clear angle for seeing the total image, which, due to other material choices, verges on the impossible, especially when artificial or multiple light-sources are present and affecting the painting surfaces. Reflection is difficult but enabled by sustained and mobile viewer engagement from a range of perspectives, or PoVs. Potential for other effects [luminescent, 3D objectification by techniques such as shadow or representational illusion, etc.] emerges. Definite residue of “hand” present, in the brushwork, and choice-fields, in the flow effects, as manage-release tactics.
