Imagine you have created or obtained an interesting graphic - for instance the sketch of a face, or a photo, picture, computer graphic, etc.
· Next, use that one fixed graphic to make several identical copies.
· Now use origami to variously fold the initially-identical two-dimensional copies into different-looking three-dimensional sculptures (you might even use some crumpling).
· The folds can be quite simple: just a few can produce dramatically different configurations of convex/concave facets.
· The resulting effects furthermore depend on how the original 2-d object’s graphical properties interact with the different 3-d configurations.
So take 20 minutes and give it a try!
But What Is The Point?
OriGraphics can be productively employed by children with no artistic skill whatsoever, yet also by mature, sophisticated artists, so the answers depend accordingly and are outlined below.
OriGraphics and Children
OriGraphics is entirely accessible and even fun, regardless of skill or artistic interest: after all, who wouldn’t enjoy this kind of ‘play’ with pictures of oneself or of a friend? The next step, still fun, might be to experiment with crude sketches of various sorts. From here, some will acquire significantly deeper interests in drawing and space, and ultimately some will embrace serious artistic practice and exploration.
So the answer in this case is that OriGraphics has the power to engage any child, adolescent, or class of such for a short time, while simultaneously stimulating a more select and interested subset onward over the long run.
OriGraphics and Mature Artists
Despite its accessibility and simplicity, a mature artist might employ OriGraphics to produce a sophisticated postmodern gallery of related-but-different OriGraphic sculptures which metaphorically suggest, for example, how the various Christian denominations might view each other, or how various non-Christian cultures might view Christianity. In a similar vein, the mature artist might imply how originally pure visions can be twisted into something hideous and unrecognizable, at least from another cultural perspective.
What justifies these assertions? The rest of this section outlines the philosophical pillars of this potential, and suggest yet other applications.
The key concept is that however different an OriGraphics gallery’s various sculptures may look from each other, they are identical in an important way. Each began as an exact replica of the flat original, and even now you could begin with any one and transform it into any other by mere bending and folding. The differences then are purely those of emphasis and perspective: by changing the emphasis and perspective of any one, we can see exactly any other.
Within this fact lie deep philosophical implications which support compelling artistic metaphors for reality, interpretation, empathy, and tolerance. In exploring these notions, assume just for now that the one fixed graphic bears significant cultural content – say it is a religious icon or an image of the president. Then let’s call that original image the ‘underlying reality,’ and call the various sculptures ‘interpretations.’ These conceits then support additional epistemological metaphors:
1. The bending and folding, which creates emphasis and perspective, corresponds to all sort of cultural forces, personal experience, etc. Call the impact of these forces shaping.
2. Just as it would be difficult to re-fold a very complex interpretation into another, it is very difficult for individuals to completely understand the degree to which culture and personal experience have shaped their interpretations of what they believe to be various realities.
3. Theoretically though, any one interpretation could be augmented by additional information, experience, etc, and hence be understood, if not agreed to. Call this hypothetical understanding perfect empathy [mirrored by the hypothetical possibility of refolding any one sculpture into any other].
4. However, perfect empathy is generally impossible - the cultural and personal gaps are too wide. Nevertheless, we can recognize that we all hold interpretations rather than the underlying reality. Call this recognition tolerance.
Thus an OriGraphic gallery can indeed present a metaphor of how various Christian doctrines might view each other; of how non-Christian cultures might view Christianity; or of how originally pure visions can be twisted into something hideous and unrecognizable, at least when seen from another cultural perspective.
But the original graphic need not be a cultural icon: an OriGraphic gallery can be very personal. Consider a picture of one’s parent, spouse, or child: a thoughtful, mature artist might use OriGraphics to produce an interesting gallery of abstract expressions suggesting complex facets of the subject’s interior life. Other applications need only be imagined.
In short, OriGraphics offers the mature artist a host of possibilities, despite its fundamental simplicity.
Where Did OriGraphics Come From?
OriGraphics, as outlined above, is the original invention of my mind circa autumn of 2010. My hope in writing this post is that interested artists, art educators, and parents might experiment with OriGraphics in the course of creating, teaching, and promoting art.
My special hope as an “Art Missionary” is that OriGraphics may bring some joy to many children, while presenting more serious and significant stimulus to at least some others.
My only selfish wish is to be recognized as a catalyst in disseminating these ideas: attribution and especially links to this post within workshop materials, presentations, articles, exhibits, etc will be much appreciated.
Finally, I would be interested to hear from anyone who might indeed experiment with OriGraphics: your successes, failures, anecdotes, suggestions, etc.
Stephen welcomes correspondence of all sort per StephenRowe.OriGraphics@yahoo.com
