My interests lie in the practices of formal repetition, variation and mutation within limited serial systems and networks. The paintings consist of many interrelated layers of repeating geometric forms—lines, arcs, and grids—that I compose on the computer. I replicate these basic elements into an increasingly complex field that I then render in discrete layers of oil and encaustic paint. Using ephemeral, computer-generated images exclusively as my source material, I create paintings that physically assert themselves through the materiality and permanence of historical painting media. The translation from the “virtual” to the “real” is paramount.
I create groups of paintings that function as self-referential systems. Within these groups of closely related paintings, the works progress logically, beginning with pairs or quads of nearly identical “siblings” that appear different because the order of the painted layers is shuffled. Otherwise, they are materially and physically identical in color, form, composition, and technique. Thus, each painting functions as a self-contained individual and as a member of a group or network. The groups culminate in large works that exhibit an expansion of the compositional field—a disintegration of the regularity of the forms and an increasing spatial perspective. These works represent a “break”—a shift, a digression—or perhaps, a beginning or an ending. Differentiation within the closed system allows for comparison and the assertion of identity. Familial repetition within each group of paintings is a means of suggesting multiplicity and transformation through the language of abstraction.
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email Amy Ellingson