Adriel Jeremiah is an computer programmer with a deep background in origami and folding. This artwork is an extension of a world view involving folding; often involving higher dimensional spaces. Many of these designs contain the mathematical magic of the transcendental numbers of nature, and all of them are the extension of the provisions of space itself; to be both physically folded, and conceptually folded, circularily and across many levels of expression.
His spectacular new piece derives its color stream from a fluorite crystal that has a spheralite imperfection / inclusion (the red, purple, and orange).
Description: A bursting kaleidoscopic geometrical form with 4 sides of symmetry pointing angularly to each of the four corners of a square shaped canvas against a dark grey textured wall. There is a small red shaped plus at the very center, surrounded by orangish-peach and periwinkle butterfly like shapes at 45 degree angles from each other aligned to the mid center going up and also to the sides. The butterfly shapes are encased in a deeper red flower like shape before a region of light blue geometric textures. Near the corners are feathered white, dark grey-purple, burgundy and orange feather like edges.
AJ describes what these fractal pieces are in this accordion. Their construction will broaden your perspective on perspective.
My artwork is digital photography in a world where objects exist in more than 3 dimensions, and where no known means of physical representation has yet been discovered to exist.
A time has come to again look at changes in the way technology allows us to see the world and experience it. First was the human eye, with a lens made of flesh. Later humans developed a replacement for the eye but in the form and fashion of the lens of the eye; this time it was made of glass doped with metals to enhance its control of light. To see, the human eye has a retina filled with responsive cells which look for contrast and color.
Technology has allowed us to create a replacement for the retina called a CCD with metals which respond to color and report those values to a microchip which converts them to bits and bytes for storage. I will present to you the same extension of sight by explaining how the images you will see come into existence.
In my artwork the landscape is created via the execution of a seed of a formula, allowed to grow and flourish in a mathematical set of steps. In a similar way, crystals grow underground in a cave over many millennia but they follow a seed of a universal pattern related to their atomic structure and facilitated by the chemical nature of their environments. In our regular world, we have 3 directions we can move, forward-back, up-down and left-right, but these crystals can move in another set of directions allowed by the universe and mathematics. They are, and must be considered elements of nature, and it follows that the methods used to convey them must be considered legitimate tools of expression.
A crystal starts at a virtual geometric position, a virtual center, then it mathematically and procedurally grows outward and inward according to a seed formula. However it exists in a dark world devoid of light and color; it is only a cloud of form. As an artist, I create an eye with a lens which follows the same mathematical processes as the lens of a camera and the eye itself. I situate the virtual eye to be gazing upon the crystal as I create sources of light which will illuminate the crystal and reflect light back to the lens.
As an artist I imbue color to the crystal, I imbue reflectivity, I imbue refractability, and I imbue density or transparency exactly towards the same purpose as a painter would do, in combining pigmented oils on canvas with a brush in his or her hand.
My artwork is digital photography in a world where objects exist in more than 3 dimensions, and where no known means of physical representation has yet been discovered to exist.
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