The psychedelic genre of visual art is portrayed in the Grass Valley Chambers Project. This Saturday will feature the gallery’s first solo exhibition. The show will continue to explore transcendental motifs through texture and optics to comment on the relationship between humans and technology.
Local artist Candice Thatcher, 32, describes her art and its process as a move from analog to digital.
“What I’m doing is diverting existing images from image-based platforms (Instagram, Google, Tumblr). I load images into the low Wifi area of my mobile phone, create existing images, and then do that. All you have to do is paint a topographical reading of the image, “said Thatcher.
The dark and light colors present in the computer graphics form the shape of the sculpture, which Thatcher “converts” to Adobe Illustrator or Photoshop and plays it in an optical mix. The mixed media optic artist incorporates the loaded image into 3D modeling and finally creates this wire form from a “bump map”.
According to Thatcher’s artist statement, “bump mapping” is a computer graphics technique that stimulates the texture of objects.
“I enjoy the contrast between this very old and new technology, and I’m creating something that lacks reality,” Thatcher said. “This is a simulated environment, there is no perspective, just the relationship.”
Thatcher’s art originally renders a snapshot of a two-dimensional texture and rethinks how the new form takes up space.
Thatcher said he enjoys finding spontaneity in the process of incorporating technology.
“After the computer simulates it with 3D modeling or I3D modeling, it transforms into this biological morphology and then plays with it,” Thatcher explained. “I don’t know where it will go to the end. I like that degree of opportunity in technology and 3D modeling programs.”
Method or meaning?
Thatcher’s work is about the process, as in the last exhibition of Chambers, where gallery visitors witnessed five psychedelic paints working in tandem on two separate canvases.
Thatcher said she was aesthetically attracted to the wireframe, but the draw goes beyond appearance.
“I started exporting art with very detailed images because they are the basis, and I’ve been suffering from anxiety for the rest of my life,” Thatcher added. rice field.
When Thatcher first made a wireframe sculpture out of wood after starting 3D modeling, she wanted to make more of this.
At the same time, Thatcher said he began reading MIT sociologists Marshall McLuhan and Sherry Turkle. .. “
According to Thatcher, technology influences the way art is produced, as everyone “processes so many images and images every day.”
Thatcher’s work aims to recreate the experience of “always crazy about the screen.” Multimedia artists use neon paint and media to illuminate the screen pixels of proverbs that are within arm length for 24 hours.
In the aesthetics of digital culture, Thatcher is “thinking about how we are all connected,” but Thatcher is not the only one.
Thatcher said he wasn’t surprised that Chambers was interested in his work because of the long-standing relationship between Op Art and the elements first found in concert posters in the 1960s. Chambers has a mission to collect.
Thatcher said that his childhood home, shared with his sister and co-creator Jesse, had at least two psychedelic concert posters that he knew the Chambers needed to be familiar with. rice field.
Jesse Thatcher, four and a half years ago, Candice Thatcher’s sister attended Mills College in Oakland.
Jesse Thatcher said the works of her and her sister were not necessarily of different genders, but said the woman was influenced by the paintings of her grandmother and mother, former students of the Art Institute of Chicago.
Jesse Thatcher said that “there is a weaving element” allowed her and her sister to see a common theme in the Bauhaus movement when playing with textures in different media.
“I don’t know why I’m attracted to those patterns, their depth, and the reflection of light,” said Jesse Thatcher. “I’m dealing with art at a certain level, so I’m going back to op art.”
Brian Chambers saw the connection when Thatcher’s family friend and chamber architect Richard Baker introduced her work to a gallerist.
According to Chambers, Richard’s wife, Julie Baker, is the director of the Grass Valley Arts Center, and the couple’s nominations are already fruitful.
“All her work sold,” Chambers said of his first show. “And my audience seemed to enjoy it.”
Thatcher’s 3D modeling employs old and new techniques to “create a simulated environment that is separate from reality and perspective. We enjoy this relationship with images on social media platforms.” ..
“I’ve always been a fan of optical art,” Chambers said. “But the way she creates her art is different from all the other artists I work with. Still, it appeals to the 3D elements of everything I draw.”
Chambers, who began collecting art in high school, said Thatcher was a younger cloth than the artists he generally works with.
“I think the younger generation has different approaches, and I think the relationship between the creative approach and the approach to getting her product finish line is different,” Chambers said. “I don’t know anyone else in my typical operational territory who is as close to creativity as her. I think it’s fascinating, unique and inspiring.”
Chambers said all the shows scheduled for the gallery space he began to occupy in November 2021 “are in the book as an important part of art history.”
For Chambers, that means Grass Valley is also mentioned in history books.
“I’m very proud of what we’ve created and what we’re aiming for. I think the young female artist doing the first show is relevant,” Chambers said. Invades the psychedelic art scene, highlighting one of the many major payers who are already participating.
Thatcher says he works in the space of a group maker called Curious Forge, a group of artists known as nail factories, and has worked in the studio of Evan Nesbit, a graduate of Yale University who teaches art at Sierra College. ..
Chambers said he was honored to be able to participate in what he thought could be a special moment for Thatcher.
“I don’t think she’s going to show at this level and get a lot of attention,” Chambers added. “I think it’s really great for the community.”
Rebecca O’Neil is a staff writer for The Union.She can be contacted at email@example.com