Like most humans, I began to draw at an early age, and like most artists, never stopped. Even now, for whatever project I undertake, be it painting, computer modelling, or a shopping list, drawing remains the essential first step. Being self-taught and growing up in New York, inspiration was always close at hand in the architectural richness of the city, particularly those pre-modernist structures where ornament was integral. The attention to detail, in both form and craftsmanship on these old buildings still astonishes.
Even at the risk of depriving the world of my profound insights, as I pursued my art, I gradually realized I was as preoccupied with the objects inhabiting my pictures as the underlying message, and focused formidable efforts on their refinement. Invariably, my interest in mathematics would invite questions like: What determines an harmonious relationship between an object’s various elements? Can math describe this form, and can it be called upon to make it even more expressive? Is there some governing principle actually at work, or am I just introducing a needless layer of abstraction…?
With the advent of 3D modelling software – Rhino in my case – and now free to experiment with a howling menagerie of forms, I was much better able to grapple with the interplay of math and aesthetics. In the last several years, I have incorporated a relatively new add-on to Rhino, the parametric modeler Grasshopper, which allows the designer to even further extend their explorations. By adjusting one or more parameters, a design which once had to be redone from scratch whenever a previous step was altered, can now be endlessly modified, affording an almost paralyzing degree of flexibility. Although it has become a favorite in the architectural community, it has much wider application, a conclusion I hope you will also draw from my work
Mr. Gross’ wardrobe furnished by Botany 500