When any graphic is stretched over a three-dimensional folded Kirigami form, as I enjoy doing, its basic property of being anchored upon a flat ground plane is undermined. Pure visual form is bent or ‘refracted’ by clinging to the physical lattice of linked planes. A graphic form may be fragmented by the physical form, but it is not necessarily subverted entirely. Instead, a tangible form and a graphic form can be merged in a way that develops new insight about them.
Here is a ‘popup’ base, made up of a group of five half-arches. The outer four parts intersect in the middle, where they form a secondary folding axis, upon which a fifth half-arch pops up. I’ve shone a luminous aura of concentric, circular color fields over this form. This picture shows a captured image in Adobe Illustrator, as rendered in 3D using the Origami plug-in.
Such a simple, static thing, although pleasing as such, could serve as a good base platform for something more complex. I wanted to couple a translucent graphic image to it that would cling to it very loosely and lightly. Some great potential pairings were found when I considered images created by a 20th century master graphic artist, Josef Albers.
My first piece here references Albers’ woodcut, “Embraced” (1933). Albers’ graphic art is known for implying a third dimension in subtle and ambiguous ways. He would differently shade adjacent areas within outlines, so a shaded areas could belong to more than one plane.
My second piece here references Albers’ lithograph, “Shrine” (1942).
In these Kirigamis, you as a viewer are invited to reconstruct the referenced graphic, which cannot be seen in its entirety from any single angle of view. As if refracted through prisms, the lines can variously appear both broken or continuous, depending on a specific angle of view. Albers’ consciously ambiguous shadings can still be enjoyed in the Kirigamis, but a viewer has to actively move his or her their head (or turn the piece) through a wide range of viewing angles (say, 60o horizontally by 30o vertically) to take in all of these new implications.
The animation camera does a part of this work for you here. Such optics can be sensed by viewing my animations, yet they do not give you the same perceptive experience as does active viewing.
The outer color field also shines through from within both pieces. It can be glimpsed between the slats and in the wider openings, where it blends visually with the surface color field. Like the drawn graphic, it leads the viewer to look for the blending effects as seen from different angles. It’s other role is to show a positive space inside of the form, not a shadowy void.
Albers himself was fascinated with paper folding, and he gave popular classes about it.
A technical note. I conceived this form using a program called Popup Card Studio, which I learned to use by following a series of online tutorials. I applied graphic overlays to it in Adobe Illustrator. Popup Card Studio provides a built-in tool for drawing half-arches, which are made of steps. The step risers are designed to become gradually smaller toward one side of a half-arch (two half arches are usually joined at the top to make a full arch, but not so in this construction).
I use the word “referenced” above to mean that my use of these graphics is consistent with the legal concept of “fair Use”. These pieces transform the viewer’s personal action toward and perception of those referenced graphics.