Binary Centre explores working with an initial watercolour piece and manipulating that initial piece through the digital to form a circle. The idea, which initially I thought of as `Bi-Centre’ having 2 centres, developed into the idea of binary as I explore the perception of multiple centres. A single binary digit gives the possibility of two values (0 or 1 ) with each-each additional digit the number of values doubles (2, 4, 8, 16…) it felt to me like this is what was happening. The Haiku are not explanations of the image but hints at some of the thoughts behind their production.
The Complex Resolves to One
The circle contains spiral elements. A strip crosses the image horizontally, creating a barrier between the viewer and the circular image. The background is digitally created as a watercolour wash from photographs of the original strips of torn paper (see my previous Blog Lost in Execution: Binary Centre – Process). Photographs of the torn, coloured, paper strips are digitally manipulated by hand to create the circular image. In the foreground, there is a digital image of a strip of torn paper, covered by a green gradated wash.
The band across the front of the image and the wash in the background give a greater sense of depth.
In this series, I play with multiple centres on the Z-axis. If you look from a specific point the image retains the same XY-axis but presents the impression of disappearing into the background. It is also a record of a process over time as it moves into the distance. The concept of time is related to plans and processes; plans are predictions forward in time while a process is something that happens over time. This is something that I explore in much of my work.
Seen From A Distance
The background is a tonal grey translation of the wash used in The Complex Resolves to One with the colour digitally stripped away. Elements of the receding line are also translated into monochrome.
There is a tradition in English watercolour of aerial perspective which is the changing of colour as it moves into the distance. In this case the change is a jump to neutral monochrome.
With Effort One Can Be Seen
A vertical blue strip travels down the centre of the image. The circular image now has an overlay with two distinct centres, both of which are hidden by the blue strip. Straight lines begin by resolving around a centre point in the lower half but then seem to shift and resolve around a second centre point which is higher. The main image has been reduced to a monochrome with hints of green and red
Even within abstract work, I play with multiple illusions; the illusion of depth, of paper strips and of circles in an image made up of straight lines.
Models Reveal Part
Two strips cross the image. The background shows all the original torn strips that were used to create the physical watercolor piece, laid across and down the page.
Seeking One Centre
The foreground elements of a vertical and horizontal sloping cross create a barrier pushing the viewer back from the central element.
The background tonal colours have changed. To achieve this I selected certain colours from within the image and `shifted’ them muting the blues towards the monochrome and increasing the colour saturation of the reds.
This image removes the visual barrier and lets you enter the image. The reds have been enhanced and the circular image now jumps to the foreground and attempts to leave the page.
Change is constant; the change during the process of creating an image and the change between creating one image and another. It can purely be perceptual change, for example a shift in awareness caused by revisiting the image.
A Rhythm Lost Creates Noise
The final image of this series is much simpler as only echoes or shadows of the original complex circle-spiral remain. The two centre points are a vertical reflection. The four strips of colour that cross the image show three in front of the image while the top strip appears to go behind the shadow of the circular image.