The Story of the Fractal Painting

In 2006 I experienced an animated fractal by Johnathon Wolfe of the  Fractal Foundation projected on the dome of the planetarium in Albuquerque. For the next six months I worked in my studio in West Oakland on a painting inspired by a video still of his animation. I envisioned it made of different-sized panels connected by bolts, so that it could be dismantled and reconfigured. This painting, along with a stop-motion animation of its creation displayed on an ipod embedded in the gallery wall, was in my first two-person exhibition in 2008 with Evan Holm, curated by Adam Hatch at Ego Park, which turned into Hatch Gallery, (which is no longer). The painting was featured in my first-ever review by DeWitt Cheng for the East Bay Express.

Over the course of several years, the painting was relocated with the help of many friends (it was hulking and heavy), to the lunchroom in my former workplace at Kw Engineering, to a hallway in a condemned studio at the UC Berkeley Richmond Field Station, and then to an old latrine at the Headlands Center for the Arts. In 2012, in the home of art patron Gary Schefsky, my friend Ruth Goldstein and I created a feedback video using a digital projector looping the Ego Park animation superimposed on top of an analogue slide (used originally for my grad school application) while playing the song Brahminy Kite by Caribou.

This feedback video is the projection within which I perform the final decommissioning of the fractal painting - Infinite Regress, 2007 - in my basement/garage/studio in West Berkeley. From its remains were created the Hex Coasters, 2015, on sale TOMORROW NIGHT at Incline Gallery in San Francisco.