Particle
Reinhold Pinter

As part of the celestial fabric humans are charged particles drifting through the universe carried upon the crest of spirals, waves and vibrations - mildly conscious of the energy they receive and transmit.

Numerous interests have shaped the Particle series - elements of architecture, shadow theatre, old world/new world science, spectral colors, sign language, flags, yoga, miniaturization and a machine aesthetic. The penetrating eye of science is fascinating as it reveals the subatomic structures of life. An infinitely small bacterial spirochete can imitate the configuration of human DNA or the spiraling birth of a galaxy. It seems that all matter, whether large or small, shares relative properties of design and distribution. In the spirit of small things replicating to create larger entities Particle employs stencils and hand-cut paper to explore the possibilities of matrix patterns.

There are rich traditions of cutting paper found throughout the world. As an expression of the people in ancient China sculpted or cut paper was used as a form of sacrifice at funerals and rites of passage. The Japanese art of sagegami would also have a role in religious and secular celebrations. Professional artisans would later employ elaborate paper cuts as stencils in the printing of fabric and textile production. In Persia, Turkey, Palestine and Europe découpage would be elevated to an art form. The paper cut silhouette would be popularized in America during its emergence as an independent nation.

In Particle large sheets of stonehenge paper have been meticulously hand-cut to form a variety of matrix patterns. Each matrix consists of three or four small hieroglyphic units (schematic people & symbols) that are repeated (replicated) hundreds of times. The evolving cutaway becomes an interlaced screen or veil that is animated by various light sources and contexts. Like a chameleon the paper accepts or influences its surroundings. The placement of color, objects or images in front, behind or on the surface further transmutes the filtering light – at this point a sort of shadow theatre occurs. This manner of sculpting light references Middle Eastern and Asian architecture with the use of latticed window grilles and meshed partitions.

The color spectrum often used in Particle alludes to the prismatic rainbow of light, as well as chakra energy. The word chakra is an ancient Sanskrit term meaning wheel. It is used in eastern teachings to describe a phenomenon of spiraling or rotational light energy absorbed by the body through the endocrine system. Traditional Hindi literature mentions seven levels of chakra energy with entry points along the spine - each having a specific color designation. Interestingly, chakra energy and the associated colors correspond to the rainbow of light as defined by science. The rainbow of light has many cultural/political references the most recent being an emergency warning system to alert North Americans of terrorist threats.

Particle has recently taken a surprising turn with an emphasis on flags, emblems, ‘the running man and saboteur motifs’ and American/Canadian relations. In times of crisis or 'imminent danger' society relies on symbols of unity for motivation and reassurance. Allegiance to the flag becomes a conspicuous demonstration of loyalty, service and justification. Hybridizing emblems and colors of flags based on conflict between nations may be considered mildly subversive. However, the spectrum of world geopolitics is constantly shifting and temporarily metaphorical identities arise – generally through coercion and assimilation. The new flags are cut into matrix patterns symbolic of resistance, supplication, apathy or fear of ‘imminent danger’ that may or may not exist – depending on the particular perspective.

gallery  Kindler  Greisch