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This body of work is centered around the concept and aesthetic of the ‘grid’. What began as almost an infatuation with its structure and order has developed into an internal and visual conflict; a tension between our attachment to and release of the ‘grid’ as a system. In Rosalind Krauss’ notably cited essay Grids (1979), she characterizes the grid as a stubborn structure that has “sustained itself so relentlessly… impervious to change.” I’m attempting to reconstruct, and therefore redefine, the grid as vocabulary, to develop it into a language I have yet to even understand myself. 

Starting with intuitive illustrations on the grid, I subjected the sketches to cycles of repetition with changes large and minute, analog and digital, building a world that worked under intangible, inarticulate parameters. From generating constant output, I hope to work backwards and uncover my own subconscious algorithm; my research has turned onto myself - as artist, creator, reader, translator, ethnographer. From simple yet key formal qualities of translation, reflection, symmetry, rotation, the ways of construction used in my work additionally parallel how we understand space and dimensions through quantum field theory. Amidst the visual structure of the grid (like the fabric of space-time) we must also recognize its natural affinity for disorder (entropy) - a pivotal key to open-up our understanding of universal elegance and perfection to greater humanness. 

The grid - what Krauss once coined as a “cheerfully, schizophrenic” - has now become even more paranoid, frantic, and anxious. Whether or not I am able to truly secure control over the grid will perhaps be an impossible, endless task, but one I shall pursue nonetheless. 

The 2024 Will Barnet National Arts Club Student Show
The National Arts Club
February 7 - March 13
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