J.D. Doria's multi-decade career in art has so far been characterized by meticulous complexity. Each project has involved not only multiple media, but a wholly unique layering thereof, and a sense of pure invention. Or, as Doria puts it, “growth:”
Rather than composing, I ‘grow’ my images from the materials, surfaces and mediums I am using. Technology is my organ of apprehension through which I curate the generative capacity of the work. My interest lays in the creative process, in undressing painting from its structural forms, and remaining in contact with its verb.
Doria’s current Petri Dish project is one of the most unique experiments so far. Using glass dishes, a crane-affixed camera, and “different mélanges of liquid colors and materials,” Doria explores valences of “becoming,” the formation of patterns, structures, and lack thereof, over time:
By agency of the materials (colors and mediums) the composition in the Petri dish becomes active and generates chaotic processes, out of which a ‘colony’ of images emerges. This is where the camera and a photographer enter the scene and captures the dynamics in time. Images are then digitally enlarged and enter a process of selection till a set is chosen. Each ‘work’ is composed by a circular image that captures the initial stages of the reaction and by the ‘multitude’ of images extracted from the process.
Like the best big-idea work, Petri Dish offers viewers inspiring and challenging experiences regardless of analytical investment. Though they yield odd and theoretically rich results when thoroughly investigated, each image is, at its simplest/most immanent level, a purely physical entity, something that ultimately reflects as much as it emanates. And so is Doria’s work overall—deeply, laboriously meditative art that offers a full spectrum of aesthetic and philosophical content.
Check out Doria’s main site, Twitter, and Facebook too.