The attached painting builds upon the ongoing series Plots, Grids, Models by incorporating a computationally designed panel. This work delves into feedback loops, history, and the efficacy of models used to regulate networks of built and natural systems. The series considers how the ‘model,’ much like a painting, can serve as both a tool for abstraction and a medium for artistic expression—with the artist as the modeler and the painting as the model.

This computationally designed panel substitutes the traditional wood panel, drawing parallels to the planned logic of the painted surface. By creating a more intricate ‘stretcher’ to support the planar surface of the painting, I explore new conceptual terrain, positioning painting itself as a model. This approach is informed by Hubert Damisch’s 1986 essay Painting as Model, a foundational text for my practice, while also referencing the economic, ecological, and architectural models that inspire my visual vocabulary.

By expanding into the “objectness” of these paintings, I uncover new opportunities to reinforce these ideas through material, fabrication technology, and design processes