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In Photographic Psychology, John Suler describes abstract photographs as, ‘draw[ing] away from that which is realistic or literal…away from natural appearances and recongnisable subjects in the actual world.’
The abstract images presented here are indeed altered to the extent that their original actual world references are impossible to discern. However they are abstracted by the use of geometric and algorithmic transformations and consequently the mathematical forms that result also underly familiar strucutures in the world, from the motion of substances, through structures of flora and fauna, to human artefacts, to architechture.
These resemblences have been discovered and cultivated in the process of production but are also created in the mind of the viewer who may perceive likenesses to actual world objects and processes.
As such these images are reflections on the mathematical roots of aesthetics and apperception and on the natural human tendancy to seek and generate meaning and reference.
The abstract images presented here are indeed altered to the extent that their original actual world references are impossible to discern. However they are abstracted by the use of geometric and algorithmic transformations and consequently the mathematical forms that result also underly familiar strucutures in the world, from the motion of substances, through structures of flora and fauna, to human artefacts, to architechture.
These resemblences have been discovered and cultivated in the process of production but are also created in the mind of the viewer who may perceive likenesses to actual world objects and processes.
As such these images are reflections on the mathematical roots of aesthetics and apperception and on the natural human tendancy to seek and generate meaning and reference.