Michelle Hinebrook

Brooklyn, New York, USA

Abstraction in my work emerges through sensation, emotion, memory, physical experiences and material experimentation. The process of abstraction in my work begins with drawing an idea or an observation, and then mapping collected imagery and information within a composition. Complexity and simplicity evolve through interactions occurring between geometric and organic forms. My compositions consist of interrelated layers of geometric motifs woven into infinite pattern networks, which appear to fuse and fracture across polyhedral spaces.

My artistic practice is interdisciplinary—my processes combine traditional disciplines such as drawing and painting with an open experimental approach to new media technologies. I utilize both digital tools and traditional painting methods in my studio practice. My process begins with loose sketches and writing documenting my observations. These initial sketches are then transferred and developed further into computer-generated compositions, which I use for my source material. The paintings on canvas and paper evolve from these composites, and then the work is executed by hand using traditional processes and media. My work draws from diverse influences, including: conceptual abstraction, graphic design, op art, hard-edge painting, cubism, minimalism, and geometric abstraction. I am also influenced by photography, references to technology, mapping, fractal geometry, nature, architecture, design, gemstones, confections, and scientific imagery.

This work discusses the human condition by observing patterns generated by activity and the perceptual and psychological orientation of media in our lives. Through technology we navigate new social and information spaces by using the Internet to locate ourselves and experiences within the world. I’m interested in the ways we use visual technologies to enhance, transform and inform our contemporary understanding of reality. These paintings are experiencing transmissions and transformations into abstraction. When signals are scrambled, imagery deconstructs into pixilated patterns of color and light. What you see is information in flux, as if a data stream is running throughout the paintings.

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