Cellophane

Lumen & Logic

A sheet of independent plates, each a handful of oversized hard-edged shapes laid down as translucent inks that multiply where they cross — so most of the colours in the finished picture are mixtures that no palette entry contains, and the picture is read through the stack rather than off the top of it. Every shape is far larger than its plate and is cropped by it, so half-planes, wedges, bands, discs, half- and quarter-discs, pointed lenses and capped tongues arrive as fragments rather than as objects. Straight edges are not free: each plate draws three to five directions and reuses them, and a share of them converge on one or two focus points, so a plate reads as designed rather than scattered. One keynote hue is chosen for the whole sheet and recurs in most plates; greys sit under the saturated inks to keep the overlaps legible; a few near-blacks stay opaque and read as holes punched through the stack. The paper is then cut back in over the top: long tapering white slivers slice clean through the inks, and a share of plates carry one aperture — a lens, a disc, a sector or a rounded square — knocked back to clean paper and filled with a tight bundle of wavy hairlines whose wobble drifts from line to line so the bundle crowds, opens and appears to branch. Flat, hard-edged, unoutlined — no gradients, no shadows, no texture, no keylines. On a dark preset the inks screen instead of multiply, so the same picture prints light on dark.

Medium

Generative algorithm, archival pigment print

Dimensions

60 × 90 cm