Grid-27 was aimed at combining perception and reality in a similar way as Grid-15 but in a more direct and stripped-down fashion. The tunnel-like borders encapsulate the main subject (an eye symbolizing perception) in layers similar to those found in video feedback loop effects (also known as Optical feedback). The three triangles pointing towards the eye symbolize stimuli being taken in by the senses.
I find optical feedback fascinating because I see it as a simplified version of the human mind and one of the many analogies of how it may work. This analogy consists of the mind as a very complex feedback-loop system. This system intakes stimuli from all available sources (such as the senses) and starts a process that yields a modified output, which is sometimes extremely different from the raw input. This output can be so strikingly different that it will often create the illusion that content and actions are being spontaneously brought forth by an individual (and his "self") alone (suggesting that ideas are created rather than just remixed/processed). For instance, when recording a blank screen and feedback-looping it, simple tilts in camera angles can result in complex visual dynamic patterns developing. These patterns can trigger image recognition systems in the human mind leading to phenomena such as paraidolia (as discussed in Grid-14). Suddenly you are no longer looking at a blank screen: you are now looking at a face, or a flower, or a hurricane.
What about our creative decisions and "our own input"? The optical feedback analogy is over-simplified because we are not simply tilting camera angles when we make decisions, but aren't there numerous conscious (and unconscious) influences that affect our decision making process? Perhaps too many to fully account for--very likely so. In the end, how much are we really truly deciding? It may not be as much as we thought, and we may actually be more like feedback machines :|
But don't be discouraged by this idea! As disenchanting as it may sound, the idea of our minds being feedback-loops systems can actually serve for improving one's self: breaking cognitive-emotional feedback loops. After all, if you are truly creative you can hack any feedback-loop system to add your own flavor ;P ...and while you're at it check out MilkDrop, my favorite visualizer of all time, which is mostly just an optical feedback system on steroids.
I created gridz sometime around November 8, 2013, which is Hermann Rorschach's birthday. Rorschach was a psychologist that developed the famous "inkblots test" as a psychoanalysis method. The idea of something so seemingly-simple as an inkblot provoking such deep-rooted thoughts to surface fascinated me.
Another concept behind gridz is Piet Mondrian’s style of abstraction (i.e. Broadway Boogie-Woogie). Mondrian abstracted or “simplified” his compositions to the extent of reducing elements to vertical and horizontal lines and primary colors. Similarly, gridz are highly abstracted and limited which makes creating them a straight-forward and relatively simple process (like inkblots!). Ironically, this abstraction and simplicity are what allow gridz to serve as windows to deeper and more complex ideas. In other words, gridz speak directly and clearly, with minimal interference so that the minds of both creators and viewers can take the spotlight.
Gridz share many similarities with mandalas: spiritual and ritual symbols used in Hinduism and Buddhism for meditation and trance induction. Mandalas are generally square-shaped and use symmetry, repetition, radial balance, and many other elements that are also common in gridz. These stylistic elements in combination with a variety of shapes can make gridz highly meditative, taking both the creator and viewer on a journey of self-discovery through association. This process of meditation and discovery is very personal and can differ greatly between viewer and creator.
Other styles of art using similar elements to gridz are:
Regarding the use of descriptive/creative gridz titles: Initially, before completing the 30 Gridz Series, I had envisioned eliminating the use of creative/descriptive names for gridz and adding this restriction to the list of characteristics listed above. The intention behind this restriciton was to extend the minimalist nature of gridz and prevent any additional influence that the title may cause on the observer. For instance, if I called a grid "Bird", the viewer would immediatly think of a bird before even experiencing the piece. Instead, for the 30 Gridz Series I used a sequence of title names in the follwoing format: "Grid-XX". After completing the 30 Gridz Series and experimentally tagging them with descriptive names, I noticed the pieces were instantly more popular--people liked being guided by the title. I decided to make the use of suggestive titles optional, but in its purest form girdz will have non-descriptive titles.