Virginia based artist Eric Standley has a body of work, as we have seen previously, that consists of compositions that use upwards of 250 sheets of colorful laser-cut archival paper that have been carefully layered and can take almost a year to produce. These laser-cut masterpieces, reminiscent of stained glass windows, are inspired by geometry found in Gothic and Islamic architectural ornamentation in an attempt to capture a reverence for the infinite. “I am interested in the conceptual migration from the permanence and massiveness of stone to the fragility and intimacy of paper,” he mentions in an artist statement. You can see just how astounding his works are from this latest series, but also the video below captures the true awe inspiring wow factor of how incredibly detailed these works truly are.
Arch 6, featured above, is inspired through the Islamic and Persian motifs Standley witness recently. Comprised of 184 layers, the piece has many spaces to discover, and changes dramatically when viewed from different angles and lighting. His drawings are created using CorelDraw and are then cut on a ULS CNC laser. Each layer of paper is drawn and cut individually. His compositions are determined consciously by removing material from each sheet of paper, and pre-visualizing the sum of the layers as line, color and space.
Agawam, featured above, was the 17th century name for the settlement of Ipswich Massachusetts. The name comes from one of the the Native-American tribes that lived on the northeast coast. Standley, originally hailing from Ipswich, recalls a personal mythology woven into his memories of Ipswich that he cannot quite sort out in words, except one: majestic. “There is a shifting paradoxical pattern I tried to work with in the Agawam and Ithica compositions that I am sure I will visit again down the road,” Standley mentions in his statement.
“I reference Søren Kierkegaard’s essay Either/Or as a metaphor for my natural attraction to paradoxes. I am dyslexic. Obsessively detailed fractions and broadly holistic concerns are consciously separated but equally vital in my work, just as Kierkegaard’s aesthetic and ethical divisions present different ways of living. There is a harmonic relationship between aesthetics and ethics that is played out in the things that I do naturally. Methodology is refuge for determination. The results are footprints; static indexes of my compulsive behavior.” – Eric Standley
These works are a part of the Orionis series created for the Islamic Arts Festival in Sharjah, UAE. The original plan was to create an installation with these three works using very low lighting levels in a closed space. Either/Or Delta Orionis, above, occupies 171 layers of paper and has several rooms that are tucked behind floating areas of the work.
via Eric Standley