David Mishkin

Chateauneuf sur Loire, France

My geometric art executes visions in repeated gestures in their unconscious memorization and reiteration. It evolves without a prior plan. It is brought forth by the materials available, seeking to express their uniqueness and beauty within the available space. If successful, it evokes aesthetic transfer and perhaps even stupefaction.

It is a catharsis, an emission of joy expressing gesture memory, recall capacity, and aesthetic observation—augmentation. As a progression of poignant and succinct endeavors, my art transfers insight, brilliance.

Such geometric art creates order, the emotional untying and gathering up of loose ends. It is governed by insights that may be rapid, even instantaneous. Their interpretation evolves in the doing and undoing of spatial relationships that characterize the physical objects of my art.

Aesthetically, I attempt to express ordinary objects—wine and champagne corks and labels—with their own unaltered attributes: functional shape, size, texture, natural hues, and even their imprints. The geometric process begins with small clusters of sorted materials selected from piles. These seem to align, to suggest curves and lines that often oppose each other, forging abstract, dynamic spaces. Within such spatial coordinates, patterns are completed with materials at hand.

After periods of observation in different lights and from differing vantage points, I uproot all, leaving their space vacant. Later the laying down process is repeated without references of any sort beyond aesthetic recall. My visual and sensorial memory recreates and, in the process, refines and redefines spatial relationships not only in the original work area but in adjacent spaces.

The size of the finished art expands with each laying down and uprooting until elements evolve as certain and unchanged. These are glued to each other or to supports. Open spaces remain to be resolved by the same manner, complicated at times by insufficient quantities of desired materials.

The completed abstract geometric works are meticulously photographed, resulting in perfectly focused, high density images. Details are photographed separately. Certain elements that were worked together and separated in the finished art are photographed together. These photographs became the starting point of my new aesthetic, images true in every detail to their original art, but transformed to express new abstract geometric forms. Here, the exactitude of the original art is rewarded. Images can be associated, joined, even layered, their exact, unassisted matching assured.

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