Weathering and Beyond: Leveraging Mathematical Modeling to Simulate Erosion in Digital Media

How might we bring an idea to life from both a mathematical and an artistic perspective? Within Weathering, I use imagery of environmental erosion to explore the differences between physical and digital forms of representation. I created a physical painting of an abandoned copper mine, digitized the work, and then used a mathematical model to digitally “erode” it, which I re-translated into paintings. While the explicit texture present in physical work speaks best to my practice/intent, the mathematical framework that is the basis for my digital work affords a powerful mode of temporal flexibility. Used in conjunction, these two forms of representation–painting and manipulated digital footage–allow me fuller and more experiential avenues of artistic expression. In the math-focused portion of my thesis, I investigate two different frameworks used to represent Turing's theory of fur pattern formation: agent-based modeling and partial differential equations (PDEs). The agent-based Fur Model originates from the NetLogo library and is studied with the ODD guidelines (as did the Erosion Model used in Weathering). My interactive art installation, Counter, signals a departure from geographic erosion, emphasizing interpersonal connection against a backdrop of mental deterioration. The action of touching the piece positively augments the installation. This calls upon the viewer to physically engage with the work, foregrounding the restorative aspect of human connection.