About Me
Hi, I’m Ed Gutierrez. I’ve always had an interest in geometrical art. Some of my inspiration has come from observing some of the spectacular symmetries and geometries I’ve come across in molecules and crystals. Other natural phenomena, such as the branching patterns in leaves and dried clay, have also inspired me. I’ve also been greatly inspired by mandala art work, done either by hand or in the computer. I find mandalas, particularly the very complex and intricate ones, to evoke a higher state of consciousness.
In the early part of my endeavor, I began by tracing and overlaying geometric shapes on paper at specific points so as to create an overall larger complex structure with more complex symmetry. I also did some of this on the computer using a program more geared to drawing chemical structures, but found it to be superb at generating many dazzling architectures.
More recently, I’ve become interested in drawing spirographic designs. To do this, I obtained a high quality spirograph set with numerous differently shaped gears, some of them highly complex. I have been methodically trying various combinations of base templates and gears, including gear-in-gear discs for even more complex designs. I have been greatly enjoying the shear vastness in complexity that can be produced by selection of different templates and gears. I’ve also been making electronic copies of these designs and creating numerous variations (e.g., color and background combinations) and even incorporating them into extended repeat patterns. I am also pursuing more advanced manipulations, such as stretching or compressing edges of the spirograph patterns to make further interesting designs not possible by hand.
My next area of interest that I’m just beginning to explore is the concept of semi-geometrical art. In semi-geometrical art, I add a non-geometrical component (or disruptor) into an otherwise highly geometrical pattern. The disruptor can be included manually while drawing the spirograph, such as by placing a stationary object in the way of the pen when drawing the design. In this way, the drawing instrument must continually go around the object, which leaves a void and a visual disruption and compensation of the design around the void. The idea for me is the age-old mixing of order and chaos and seeing what comes. It’s also the idea that nothing is actually perfect, not what we as humans make or what nature makes, not to mention that adding a deliberate imperfection into an otherwise perfect shape can simply be more interesting.
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