Outstanding circuit board art from artist Peter McFarlane, shared via COLOSSAL.
My circuit board paintings arose from working as a computer sales consultant back in the early 1990’s. I was appalled at the computer’s speed of redundancy and was determined to extend its life. My son was born around that time and after I would come home from work and put him to bed, I would head to the studio and start to work. I painted the night scape because that was the landscape I saw. Working late in my studio I could always place myself as one of the “ignited” lights in the painting. After much trial and error, I discovered that by painting the circuit board, and re-igniting the circuits, I could create a landscape that appealed to the subjective and objective view. Over time, I created traffic and lightning and other features that played with the metaphors associated with circuit boards and power. . The work was more in the realm of the aesthetic, but I found the idea of making landscape beauty out of landfill components appealing. The circuit board, to me, is the perfect contemporary “canvas” or “platform”. It is such an integral part of the global village and contained in so many of our consumer goods that we rely upon to stay “connected” or “consumed”.
And this great statement from from the artist shared at COLOSSAL:
To me, waste is just lack of imagination. This belief carries beyond the boundaries of my art production and permeates most aspects of my life. Most of my home and studio, and much of everything in them, is recycled. I’ve always had an epic imagination along with a driving desire to make things. Thus, used objects have pared my options down to a workable, manageable level. No object is beyond artistic merit, meaning and metaphor. So why throw it out? The materials of my work are connected intrinsically to my ideas, be they tailored beyond recognition or left as found. Each piece I make resurrects an object as an idea specific to the material and the meaning inherent in its use. The history of the object — from the manufacture to the dumpster — embellishes its contexts and the possibilities I have to manipulate them. I have often made a connection with the objects that I’ve used in my everyday life or work experience: that which I know.
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