During my residency, I focused on silkscreening moiré patterns on a large format.
The patterns arise by printing halftone raster points and lines on top of each other. By using exact screen corners this effect can be avoided. The 'interferences' created by a (phase)shift of the screen were in fact the desired effect of my research. The emphasis was on combining different screens and creating composite rhythms from the patterns.
Of equal importance was my use of colour. I used the strong and synthetic characteristics of fluo inks in combination with yellow, cyan and magenta, sometimes complemented by silver ink.
The use of the Zerkall paper and its absorbing quality created a velvety result.
Every work consists of about 6 to 10 printing layers. In every separate layer, I made a variation in printing angle, colour or pattern. Printing white patterns inbetween gave the sometimes saturated images some breathing space, and made it possible to make even more complex patterns on some works. In this way, every work became a unique piece.
The serial aspect of the silkscreening technique makes it possible to look at the work as a serial sequence of consecutive stills.
The mathematic or geometric nature of the moiré's show a strong mutual consistency with the way I work with sound samples. I build sound layers by making a selection based on sound colour, with as a purpose the creation of a drone effect.
The interferences create an amplification of a wave (expand) or a weakening of a wave (shrink, implode). The moiré's work with their own laws and rules. It is an autonomous process that generates itself. Despite the fact that the final result is adjusted by personal decisions, the surprise is still an important part of the production process.
The variations seem endless, depending on shifts, order of layers,...
Silkscreening is a mechanical production process that supports the idea of self-generating works perfectly.
07.10.2013 - 31.10.2013