The making of Drop Shadow - Artist Staement

Among the layers of creation, a statement is the artist's way of articulating the outcome for the viewer. Whether this explains the work or adds mystery, is a matter of choice. I find it intriguing to provide a statement that is both. The previous two posts (First StagesResurrection) mainly dealt with the timeline of working on 'Drop Shadow'. Apart from beauty, I want my work to provoke thought and nurture discussion. Open minded communication with my audience can generate new ideas and insights. The following is my statement for the show in July.
Our built environment is a result of generations of growth and interaction. In this body of work I'm reflecting on components of life and setting them in a pattern that supports new directions. We all come together on an individual journey and find the commons we need. The city is a body with endless faces. The way from which you look at it can change how you feel about and in it.
'Drop Shadow' is a process in which I contemplate the move between stages, the changes in time and scale, the balance between resource and allocation. From a young age I've been intrigued by the constant development of tools available to us. When I started using Photoshop I very quickly developed a variety of processes that allowed me to generate the features we needed for my team's projects. Then a tool called drop-shadow was introduced that in a single click created most of what my process had involved.
The city is our most complex tool and changing it seems to be on a larger scale than we can imagine. Within the arbitrary motions of fitting components together, a sense of order evolves. This sense of order is a source of both strength and weakness in all of us, individuals and societies. The need for change repeatedly shows itself. The effort to change is many times bigger than what we've thought or even hoped it would be.
'Drop Shadow' is merely a work of art. My work on creating it involves traditional arts materials such as acrylics and pencils. However, computer and various hand tools were a significant contribution to the results at hand. In 2003 its various components were constructed in a certain way. Revisiting them more than a decade later has allowed me to relate the small scale of revitalizing their existence to my current state of engagement with urban design. The effort of tweaking an established body of work involves finding the right balance between existing conditions and the boundaries of my imagination; between past, present and future.
My search is in how to turn this effort into play.

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