This was a difficult piece to photograph. It’s more characteristic of Gleman’s work; a single prim scripted to move and change colors. But this work is more subtle than many of Gleman’s works; in particular, the delicate lines that radiate from the center area are difficult to see and tend to disappear in photos. (You really can’t see them at all in the reduced-size image on this web page; if you go to Flickr and look at the full-sized image you can see them, barely. When the piece is in motion, as it is when you view it in-world, the lines are easier to spot but still subtle.
For me, this was a move in the right direction. I liked the fact that you had to look carefully into the work to appreciate it, and that it doesn’t make abrupt transitions from one form to another. Yes, it’s yet another colorful swirling thing, but it’s a good one; see it in-world to get the full story.
I tried automatic translation on the title, and it drew a blank on the middle word. My best guess for the entire title would be “Discontinuous feelings and sensations, or perhaps “The disconnect between feeling and sensations”; better translations welcome!
I’ve seen a lot of pieces like this (textured prim torture) but this one is particularly lovely. A lot of interest comes out of the extreme economy of the work. Proof that with mastery of the medium you don’t need a bajillion prims to make something lovely.
Left by Pavig Lok on August 24th, 2008