Caroline creates an aesthetically informed consciousness of the beauty of the detail in organic nature, extracting and exploiting composite forms. She is fascinated by the phenomena of nature; the endless geometric symmetries found in all levels of existence. From formations in trees a perception of occurring simultaneous shapes is created; bronchi of a lung, river networks, neuron activity, fractals existing over many scales of magnification. Pre-programmed visual preferences, encoded neurally in innate reference patterns are considered in the relationship between humans and their environment. Caroline explores fusion of contrast and conjunctions in science and art, traditional processes and contemporary practices.
Eastern Printmaking and Paper-cutting techniques influence Caroline’s work. The simplification of lines to convey the essence of nature in Japanese wood-block prints informs her lineated ‘hand-cut white paper’ compositions. From the simplest Chinese paper-cuts to the complexity and delicacy of Japanese folded and cut Katagami (cut-paper stencils), intentions are driven to push the belief of the viewer’s expectation of the characteristics of paper.
The appeal of paper lies in its reputation; ancient whilst every day, humble and accessible yet fragile and transformative in space. The cycle of paper-making is echoed in the artist’s process of picture making. Nature in the form of trees is destroyed to make pulp, the digital print is re-destroyed as a cut, then resurrected and immortalised in the subject matter and existence of the physical artwork. The dissected two dimensional prints cast new shadow patterns into the third dimension.
The pieces are a hybridisation of computer generated images and hand-made works. Environmental occurrences are recorded with a camera, the details later examined and extracted through a pre-determined formula using computer software. A digital print is rendered as the template for the introduction of the hand. The paper-cutting process accentuates the artist’s connection to the physicality and engagement of the material. The hand allows for natural distortions which induce the random; chaos and asymmetry, the antitheses of the computerised conception. Defining characteristics within the patterns are re-photographed and re-processed, duplicated and manipulated like the dividing of cells, cut and layered mutating into new autonomous forms. The complex juxtaposition of detail invites an intimate relationship for the viewer, the engagement in examination parallels the artists’ creative dedication and meditative state.
See more of Caroline’s work at her website