J.D Doria, Born 1961, interdisciplinary artist, lives and works in TLV. His maturing into painting coagulates a background in Cinema and Stage Art, with a love for writing, combined with years of study and experimental research into territories of human thought and aesthetic experience, and on the overall a Dadaist approach to life. My recent work reflects a growing interest in a radical ‘reading’ of Aesthetic.


Painting as Multitude is an artistic collaboration with Shaw (Gadi Raz) as a Photographer.

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 collaborative intelligence.

Process
I usually begin with a small work on paper, using liquid materials (colors) such as ink, glass paints and acrylic. When working out a composition and laying out these materials, I take account of the chaotic process. In the process, the paints do not merge entirely but maintain their disparate identities, while the chemical interaction between the colors creates forms and processes, which generate images that retain fractal qualities.

This same fractal quality expands into the way the works explore both space, as multiple scales of the image are revealed simultaneously, and time, by capturing the multiplying faces of an open process.

Technology is incorporated into the works through two main techniques. The first involves the use of a 3D scanner on the painting, to extract a high-resolution digital image. The out coming image provides the basis for a process of selection, which is reminiscent in my mind of the work performed in the editing room in cinema, to capture (through a manipulation of scales) a series of other images, that lie locked in the base painting. The images extracted are then finally blown up and printed on various mediums.

The second technique involves the usage of a digital camera during the painting process, The camera exposes and briefly captures the images in the making that subsequently unfold into a resting point in time. These images (that are usually lost without trace) take form while the painting process is taking place, in various areas of the work, as a result of the interaction between the different painting materials.

The Petri – Dish Project
In this work I am using a glass container as Medium – very similar to a laboratory Petri - Dish. It comes to replace the canvas and the paper. It is placed upon a light-table, and above it, on a crane, a digital camera is positioned for high resolution close ups. Within the Petri dish I am “growing” images using different mélanges of liquid colors and materials. 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.

Multitude
At the end of the process, the work comes out as a multitude, a series of images that are both a plural form of the base state of the painting and also independent images on their own account. In the process I found myself attending a threshold of mind, between a creativity that unfolds through the designed constraint of a privileged image, and a creative process that carves its way within soft and active matter where multitudes of opportunities co-emerge.