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.

Our featured artist is Adriel Jeremiah Wool.

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.

Shop Art by Adriel

AJ describes what these fractal pieces are in the accompanying accordion. Their construction will broaden your perspective on perspective.

AJ is a regular contributor at Stimpunks. He kindly licenses his work as free cultural work. He helps us tell our stories with his art, music, photography, videos, audio engineering, poetry, prose, and lived experience.

AJ has a gallery in Ketchum, Idaho. Drop by if you’re around. He tries to make it a welcoming third place.

Stimpunks is gently debugging society.

The charity protects, helps and comforts individuals, while pointing out library-level flaws in some of the concepts that end up harming those individuals.

This help is profoundly wonderful, morally and functionally coherent to great need, and as true as a pure circle in its cause-and-effect form.

Adriel Jeremiah Wool

The artist hopes to convey this: that the universe is given forth folded and unfolded. Although explicit understanding helps, it is too cumbersome, and should only provide refinement to something already greater that exists.

That greater thing is what was given to the artist first by the practice of origami. An enlivening of the intuitive mind, experience with a universe of many dimensions, and the promise of creation revealed when one folds a flat square into the likeness of a higher dimensional thing. That inspiration reaches a young mind in a powerful way.
The artist wants the viewer to see proof of what their intuitive mind already knows is true, the universe is a multidimensional phenomenon and the ability to understand its nature already exists within us each.

The artist hopes the viewer will be inspired to seek the understanding of freedoms available to the individual inspired by the exposure to artistic expressions, and of a nature of dimensionality unimaginably greater than the object presented here.

Adriel Jeremiah Wool

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.

Adriel Jeremiah Wool