“Core- Painting, in its historic nature and form, converges into one image; yet, incorporating technology and cooperative intelligence, allows to expand and examine the medium’s borders beyond the exclusivity of the one image.
Ground-We are at a crossroads, in the ‘middle’ of radical transition. We are crossing over from the development of intelligence, based upon designed constraints, to development of intelligence based upon a complex and rich fabric of opportunities within soft and active reality. In soft and active matter there is no privileged identity, neither an a-priori privileged moment, nor a single-privileged image. There is however an ambiguous zone, there are fuzzy landscapes, non-linear intuitions and bifurcating events, so we need to develop an intelligence that curates becoming as a multitude.
Structure- Painting as a Multitude is the technique I am using to explore the moods and tides of emergence, where I extend the act of authoring upon technology and collective intelligence, in order to release the fixed artistic constraint of the single image, into a multitude of moments and scales captured in a dynamic evolution. Extending the Artist’s sphere of action-ability through technology and collectivity is a way of radically changing the conditions and possibilities of the painting. With technology, painting becomes a continuous event and a Rhizome-like phenomenon.”
Title - Red (1)
Medium - Painting combined with technology
J.D. Doria’s multi-decade career in art has so far been characterized by meticulous complexity. Each project has involved not only multiple media, but a wholly unique layering thereof, and a sense of pure invention. Or, as Doria puts it, “growth:”
Rather than composing, I ‘grow’ my images from the materials, surfaces and mediums I am using. Technology is my organ of apprehension through which I curate the generative capacity of the work. My interest lays in the creative process, in undressing painting from its structural forms, and remaining in contact with its verb.
Doria’s current Petri Dish project is one of the most unique experiments so far. Using glass dishes, a crane-affixed camera, and “different mélanges of liquid colors and materials,” Doria explores valences of “becoming,” the formation of patterns, structures, and lack thereof, over time:
By agency of the materials (colors and mediums) the composition in the Petri dish becomes active and generates chaotic processes, out of which a ‘colony’ of images emerges. This is where the camera and a photographer enter the scene and captures the dynamics in time. Images are then digitally enlarged and enter a process of selection till a set is chosen. Each ‘work’ is composed by a circular image that captures the initial stages of the reaction and by the ‘multitude’ of images extracted from the process.
Like the best big-idea work, Petri Dish offers viewers inspiring and challenging experiences regardless of analytical investment. Though they yield odd and theoretically rich results when thoroughly investigated, each image is, at its simplest/most immanent level, a purely physical entity, something that ultimately reflects as much as it emanates. And so is Doria’s work overall—deeply, laboriously meditative art that offers a full spectrum of aesthetic and philosophical content.