The Draftery

No. 099 – What About Sleeping Beauty?

admin — Mon, 20 May 2013 13:00:56 +0000

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No. 098 – A City on the Lost Horizon

admin — Tue, 14 May 2013 19:24:49 +0000

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Fig.03 – COMING SOON

admin — Fri, 10 May 2013 19:30:47 +0000

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No. 097 – A Primary School for a Future Nation

admin — Thu, 09 May 2013 21:21:17 +0000

The project weaves an argument for an imaginative, yet critical approach to the production of spaces with political significance and impact during historical periods of crisis. Index 1 The Lover’s Tree House 2012 23.4″ x 33.1″ Digital 2 Primary School 2012 23.4″ x 33.1″ Digital 3 The Hippo Voting Tower 2012 23.4″ x 33.1″ Digital 4 Untitled 2012 23.4″ x 33.1″ Digital 5 Plan 2012 23.4″ x 33.1″ Digital 6 The Giant Sewing Machine 2012 23.4″ x 33.1″ Digital 7 Kid with Watermelon and Oranges 2012 23.4″ x 33.1″ Digital 8 Section 2012 23.4″ x 33.1″ Digital 9 Map 3, Location 2 2012 23.4″ x 33.1″ Digital 10 Animation Stills # 1 2012 N/A Digital 11 Animation Stills # 2 2012 N/A Digital

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No. 096 – Exits into Unknown Places

admin — Wed, 01 May 2013 15:00:12 +0000

These world are constructed through a combination of traditional printmaking techniques and digital modeling. The translation from the virtual screen to a drawing or print on paper—or the wall—further underscores the ambiguity of space and image and the visual tension between old and new technology. Index 1. Passage 10 2010 30″ x 72″ Silkscreen drawing and collage 2. Windows V 2012 30″ x 20″ Etching and aquatint 3. Portal 2009 96″ x 96″ Silkscreen on wall 4. Portal 2012 Variable dimensions Animated etchings 5. Map 4, Location 2 2012 18″ x 23″ Etching and stencil 6. Map 1, Location 1 2012 18″ x 23″ Etching and stencil 7. Map 4, Location 1 2012 18″ x 23″ Etching and stencil 8. Map 3, Location 2 2012 18″ x 23″ Etching and stencil 9. Map 2, Location 1 2012 18″ x 23″ [...]

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No. 095 – The Imperfect Machinery of the Mind

admin — Mon, 29 Apr 2013 16:00:17 +0000

From birth onward, we engage in a cyclical exchange of shaping and being shaped by the environments around us. The ever-mutable passage of time renders all moments fleeting, and thus our experiences become amalgamations of these fragments. The effect of time on our environmental and existential state is the locus of my visual work. Memories, dreams, reveries, and the imperfect machinery of the mind ebb and flow between one another through dense layers of process. My content is culled from an extensive codex of landscape, architecture, and artifacts that I have amassed though my life and travels. Compiled in sketchbooks for later use, these images become the building blocks of prints and larger works. I utilize a wide spectrum of printmaking techniques, both traditional and experimental, to infuse a rich sense of history into the work. Through printmaking, elements are [...]

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No. 094 – Vøringsfossen Waterfall Area

admin — Mon, 22 Apr 2013 20:37:01 +0000

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No. 093 – An Intuitive Collaboration with the Orders of Projection

admin — Wed, 17 Apr 2013 16:50:25 +0000

The process begins through a series of orthographic projection drawings, inked on paper. The final composition of these formal depictions evolves throughout the act of drawing and an intuitive collaboration with the orders of projection. Through a ruled prescription of tone, the drawings explore the depth of the surface and spatial relationships. These drawings then serve as templates throughout an empirical screen printing process, which uses the flexibility and speed of print making production to produce unforeseen relationships within the formal composition. Index 1. Exploring the Grid 2012 22″ x 30″ Ink on paper 2. Grain Elevator 2012 22″ x 30″ Ink on paper 3. Untitled # 1 2012 36″ x 18″ Silkscreen print 4. Untitled # 2 2012 18″ x 46″ Silkscreen print 5. Grid # 1 2012 24″ x 18″ Silkscreen print 6. Grid # 2 2012 24″ [...]

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No. 092 – An Attempt to Render Subjective Experience as Objective Reality

admin — Wed, 10 Apr 2013 17:31:47 +0000

My personal discoveries of the structure and composition of films served as the initial framework. These discoveries were used to develop an architectural language that would awaken emotions, memories, and spatial imagination. Like in film, the project uses three timescales: the 24 hour schedule of the school, the 19 seconds it takes a train to move from one bridge to another, and the yearly arrival of water into the river. Each timescale influences the organization and evolution of the building. The design of each element of the project is based on organic shapes found in nature. In all of the drawings, these elements were conceived of in digital three-dimensional space. They were reproduced and rendered by hand and then re-processed digitally. Each detail functions specifically and is mechanically articulated in order to maintain constant choreographed motion. Index 1. Main Plan [...]

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No. 091 – There is Little Distinction Between the Building and the Plow

admin — Mon, 08 Apr 2013 20:07:51 +0000

My process most often begins with a desire for a particular experience. More broadly I could say it starts with curiosity. I’m constantly looking for how parts or the whole of a project parallel something else in the world. More often than not, these associations are fruitless, though they can sometimes either seep into or utterly hijack the process of decision making. I like to balance out crafting with drawings that seek to explore these potential connections. I strive for the humorous, destabilizing, and sincere. The sound of the structure moving with you resonates eagerly within the hood; it’s the primary feedback. It’s blind mediated drawing.

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