Artborne Magazine July 2016 - Page 20

I like overlapping time, and to do that, you have to overlap space. Because that’s how you view a moment in time. the same position in space, but seen in the present, and either the future or the past, depending on how you see the landscape. It’s about making flat planes appear to be optical cubes. Every piece I do has its own formula I develop, they each have their own rule. For example, in Diffracting Light, there were no black triangles. That was the rule. And I don’t make changes, times out of . I’ll make a mark, and then make it work. Once it’s there, that’s where it lives. It gives it a permanence. Rob: Is science helping identify you as an artist? Yes, I would say I’ve been influenced by Picasso and his cubism. And he was influenced by Einstein’s Theory of Relativity. Rob Goldman joins the conversation. Here, take a seat man. I’ve been sitting all day. Black Hole, acrylic, chalk, & pencil on canvas Rob sits and chats with Jordan. I walk off. When I return, they’re talking about influences. Rob: Earlier I asked her, “What do you want to be asked,” and she said, “My influences, of course.” So I asked her and she said, “Diebenkorn.” His Ocean Park Series, they were a big influence to my House Series. Jonathan: What’s your dream project? I want a solo show with a neighborhood of my houses. Each of them as large -foot paintings. Rob: What was the best piece of advice [x&]HXZ]Y‘]\][]8&\Z[^HZ[\X[HX0KH\œX[H[\YH\H[^\X]\H[و\ܚš\\HY[YX[][ܙH[XY[Y HXZ\]BZ[XX[\ˈH][&][HوY]]HYYXˈHZH^Hx&[H[[X[H[]]Y H\[^\\YYYY[8)[x&[H[Y˜H\K\H]HY[YH[X\ٝ[YX\Zx)؎[[x&\H[X\[HHZ[\Y]8&\[\H[\’ܙ[\HXو\\\۸&]YYHX]YY Xܞ[Xۈ[\Y[]Y]HHZ[[˜[ΈYX[Y Xܞ[Xۈ[\HY[YY[]\٘XܞK\ ܈]XˈHZ[]x&[H[\\Y[X\œY[K]]8&\X\XB؎]X[H[HXXˈ[]] ܈]ž[H[YHH\ۈ]XYH]Y[[\[ۘ][H]HYB[وY][˂\[^H]YB؎[[H[[BXY]]\\]B؎H MHB[و[\’H[[[^H[\ۘ][[[Z] \[]YY[H]\۸&]X\\[Hۛ’^K[Hۛ[\HX]]8%[\[KܚXZ\YH[ُ[[[[Y[BۈH[&][]\ [HH\ˈ^Hܚ’x&[H\[^HۙH\\YX[H[\]]Kܙ X^XHx&[\[ZH^HXHX]HXܙ[˂K[\Hܙ\Y ]X[YH[HX]YX[XH܈[YK[[H[YH[ܙH]X]ݙ\\[[YK]8&\šܙ[[\[\ BNBːTԓSPQVSKB