View In Room
View In Room
Ink gold and glass color on a pteri dish
Edition of 3
Dimensions: 80cm (H) x 120cm (W) x 1cm (D) / 31.5" (H) x 47.2" (W) x 0.4" (D)
Note: Actual colours may vary due to photography & computer settings.
Edition 1 of 3
Diasec print (face mounting) the work is framed (having metal frame support behind) and it is ready to be hanged.
Method: Painting mediated by Photography on transparent slide
J. D. Doria, an interdisciplinary artist and the Founder of the Lab of Intelligence Culture. Lives and works and lives in Tel Aviv and has exhibited his works internationally in Tel Aviv, Rome, Milan, London, Paris and New York among others. Matter, its dynamic qualities and underestimated ‘imagination’, is the underlying metaphor and actual substance he uses while generating his works. Rather than painting J.D Doria is “growing” images by the agency of materials (colors and mediums) in a Petri Dish. The incorporation of photography into painting allows him an exposure and investigation at multiple scales and durations within a creative process. Among his exhibited projects, Painting as a multitude, Organic Memory, Petri Dish Project, Material Cosmologies and the Imagination of Matter.
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Hometown: Tel Aviv
Based in: Tel Aviv
J. D. Doria, is an interdisciplinary artist, who works and lives in Tel Aviv and has exhibited his works internationally in Tel Aviv, Rome, Milan, London, Paris and New York among others. His work explores through the transforming dynamics of materiality the questions he deems fundamental in a human becoming, and matures at the intersections between art and technology, and between art and science. His background in cinema allows him to capture unexpected and transitory qualities in his works, which stem out from the act of painting, yet evolve through technology and photography into generative art. Among his exhibited projects, Painting as a multitude, Organic Memory and the Petri Dish Project and Material Cosmologies.
Matter, its dynamic qualities and underestimated ‘imagination’, is the underlying metaphor and actual substance I use while generating my works. Rather than painting I am “growing” images by the agency of materials (colors and mediums). The incorporation of technology (photography) allows me an exposure and investigation at multiple scales and durations within a painting process. So while dynamic ‘material processes’ provide me an unlimited set of brushes, technology operates as my multiple and asynchronous organ of capturing and curation in motion, which is based upon emergence of imagery-streams within matter.
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