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Copyright 2009 Arpiné Djenguerian. All rights reserved
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Landscape of computational analysis combined with art aesthetics is the framework of my abstract paintings, new media works and installations. My work comes from my practice as an engineer. I apply the same mental vigor in solving aesthetics problems. As an engineer, I enjoy the challenge of designing artificial intelligence, network protocols and high-end supercomputers. Painters at their canvases are like engineers at their workstations: routing flows, plugging leaks, and balancing out unruly forces. Fashion, textile, graphics or movie still images as initial source material are transformed through collage, computer generated visual algorithms tempered with aesthetic rules and intuition for the creation of the more complete representation. Combining art and technology in this way lets me go beyond historical precedents of new contemporary ways of seeing, feeling, painting and creating installations. What matters to me in either monochrome or high-intesity polychrome paintings is orchestrating shapes along directional axes to create drama. Early on, influenced by Hans Hoffman and Karl Kasten I painted two-dimensionally, embedding flat shapes with hard outlines in the surface of the canvas. Other times, influenced by Arshile Gorky, Cecily Brown and Albert Oehlen I plung into the third dimension, using glazes and scumbling to render shapes with soft fuzzy edges that ffloat in translucent depths.  The content of lean, sprinting brushstrokes set against plush, luxurious shapes is an abstraction of the real-world contrast of sinew with flesh.  This basic polarity reveals itself in many forms: that of the athlete and the concubine, John the Baptist vs. Buddha, Male and Female, Yin and Yang.  I wish to use lines, colors and forms to evoke feeling and compel drama. I want my paintings to have the propulsion and intricacy of a symphony or novel.