“Space junk” which from afar resembles tiny paint specks, are debris left over by humans satellites that are now trapped into the universe. The debris have different scales depending on the point of view.
The shapes were inspired by the forms of actual debris, the paint specks laser cut on each shape represent the perception of space junk in the universe. The sculpture plays with lights and shadows to disorient the viewer.
DEBRIS
These works focus on debris accumulated on a surface.
The wood was carved to create the dimensional effect of the paint. It challenges the traditional ways of painting
The carving is very delicate in order to almost be perceived as a thin layer of paint. When looking closer at the carved areas, the wood grain becomes visible and creates a beautiful natural dynamic.
SABER'S BEADS
SABER'S BEADS
SABER'S BEADS
These works are inspired by the duality between dark and light alluding to an eclipse. Saber’s beads is the broken arc of illumination surrounding the moon. The gold has been carved with a laser cutter to be damaged and broken. They are references to the relationship between nature and humanity.
These works are inspired by the duality between dark and light alluding to an eclipse. Saber’s beads is the broken arc of illumination surrounding the moon. The gold has been carved with a laser cutter to be damaged and broken. They are references to the relationship between nature and humanity.
These works are inspired by the duality between dark and light alluding to an eclipse. Saber’s beads is the broken arc of illumination surrounding the moon. The gold has been carved with a laser cutter to be damaged and broken. They are references to the relationship between nature and humanity.
I am interested in nature, raising awareness of destruction, absence and decay through the tension that exist between the analog and the digital.
While the works start painted by hand, the final pieces are computed, digital works. There is complexity in the technical process. Through programmatic steps, I hand paint monochromatic brushstrokes on canvas, and translate them into a different format so that they can be cut and etched. Although the drawing is programmed, there is a space between the initial painting and the way it materializes itself on the chosen surface allowing each piece to be unique.
Through tenacious curiosity the works lie between an essence of painting and sculpture, between wood and paper. The dialogue begins here by questioning the material, the process, and the purpose.
In translating the treatment of material from traditional approaches to their digital counterparts there is tension that invites conflict. Cutting, carving and perforating surfaces through burning with a machine reveals stress and collaboration between tradition and evolution.
Following a strong craft tradition, wood and its byproducts are the main materials used in my work. The disposition of a material to be etched, cut, malleable, and organic, ties to nature from beginning to end, involving my hand and tools challenging the evolution that wood has come to have.
I am interested in duality: positive and negative forms, presence and absence, darkness and light. Just as nature has textures, debris, deposits and layered materials I aim to evoke the dialogue between the natural and the digital.
Joyce Billet - Into The Woods
