N.B. Chaos theory is the field of study in mathematics that studies the behaviour and condition of dynamical systems that are highly sensitive to initial conditions—a response popularly referred to as the butterfly effect. [In mathematics, a dynamical system is a system in which a function describes the time dependence of a point in a geometrical space.]

 

Stepping away from geometry, I have been looking at 'chaos'. For me the natural opposite to order - geometry.  I was already looking at fractals as part of my work and the kaleidoscope and these both stem from Chaos Theory. From chaos theory, I jumped into Nebulas as they had a chaotic-ness to them and I wanted something to inform the ornamentation on a working piece. This led me into thinking of the work as a landscape of space. So, I started looking at nebulas - Carina, Lagoon, Tarantula…. These then informed the placement of materials.

 

The paintings I was making in response to the 'chaotic' theme were messy with no clear direction as they had the materials flung down and then arranged to look somewhat organised. This in complete rebellion to the geometric tessellations, and I wanted to make something of these paintings and so started to look more into bacteria in petri dishes. These bacteria are left to do completely their own thing. There is no human involvement, and although when making I would have a hand in this, making there be human involvement, it was the idea. Completely autonomous.

 

Although not rich in references it made connections in my practice.

• Microscopes

• Portals

• Reflections

• Magical world

• Delicacy

 

From these I started to consider more the making of these circles. The mirrors would make the start of the next project. But now I was looking towards the autonomous side and letting the materials make their own portals. With the introduction of some petri dishes [helpfully circular] and using PVA instead of Agar, I simply dropped some paint in the dishes and let the paint [grow].

 

Some worked more than others. Thinner paint working the best. These however became more like a testing ground for colour combinations and still did not have the same delicacy that my geometric work did, or that real bacteria has. On the other hand, they have become a side project that I intend to keep at as it was fascinating watching how different colours and different paints reacted to each other.

 

When making these boards, unlike the geometric works, I became much more aware that I was constantly arranging the materials in a 'nice way'. This kept taking me back to the idea of ornamentation and taste. I was making sure they looked nice, even though there was no need and it was unnecessary. I needed them to look horrid, but I could not seem to let it happen until the petri-dishes. Adolf Loos would have been horrified at the ornamentation, being a supporter of radical aesthetic purism he would have wanted everything to be white, clean minimal.

 

I regret that pattern is dying out. An issue of this was when Chintz introduced people went mad for it. So much so that the English were importing so much of this India styled patterned fabric, that the native mills were suffering. This lead to government banning the importing of Chintz [with loopholes of course], so that the mills could once again prosper. A pattern has left the building, although now it is used for upholstery more than anything. Another occurrence of something effecting pattern is the Ikea effect [not the cost but the styling] how when Ikea came long everyone did away with the chintz and the patterns, the loud clashing colour the nick knacks. They tidied it all up, they went for minimalism and monotones, with only small bursts of colour. Pattern had left the building.