Art + Design Faculty Work: Jovencio de la Paz

artwork by Jovencio de la Paz

These Numbers are the Body of the Fog, (Installation View), Jacquard handwoven cotton, 2019

These textiles were handwoven on a digital loom by corrupting image files, manipulating the loom software to generate designs and patterns based on errant data. The resulting cloth represents a collaboration between my own initial design and the computer’s algorithmic response. I am interested in the sometimes conflicted meeting place between human intention, emerging technology, and the ghosts that arise in machines.


artwork by Jovencio de la Paz

These Numbers are the Body of the Fog 1.3, 84” x 29”, Jacquard handwoven cotton, 2019

In this particular iteration from the series, These Numbers are the Body of the Fog (2019), a recursive algorithm within the digital loom software was employed to generate detailed weaving patterns, or structures, in conflict with areas of the design I left intentionally void of information. Taking advantage of the loom's capability to self-correct, this cloth is woven both forwards and backwards, reflecting the pattern on top of itself in intervals to complete the cloth.


artwork by Jovencio de la Paz

No Future Homeworlds, 84” x 24”, Jacquard handwoven cotton, 2020

This textile, it’s structures, and the landscape it depicts, was created by adapting an artificial intelligence called gauGAN, developed by nVidia in 2019. The AI, which translates simple line drawings into photorealistic landscapes, was adjusted to out weaving structures compatible with digital jacquard weaving. cloth. This work is inspired by Baroque tapestries, such as the Baberini Tapestries of 17th Century Italy, whose history rests largely in the retelling of empire and colonization. In contrast, my artificial landscapes tell of the digital non-places through which we seem to wander.


artwork by Jovencio de la Paz

Redactions 1.1 & 1.2, (Installation View), Jacquard handwoven natural and synthetic fibers, 2018

Rather than using industry standard weave structures, these textiles we produced by drawing directly into the TC2 Digital software. The result is cloth woven directly from hand to computerized loom, by-passing the typical codification necessary for making computer design textiles. The texts that were used as the base for these "redactions" include selections from The Oregon Exclusionary Clause, written by Peter Hardeman Burnett, which forbade African Americans and people of color from owning property in the state of Oregon until 1925. Though repealed in 1925, the clause was not removed from municipal documents until the 90s. due to the clerical expense of redacting the clause from documents such as property deeds and insurance documents.


artwork by Jovencio de la Paz

Didderen, Jacquard handwoven cotton, 2018

"Dithering," which comes from the MIddle English, "Didderen," is a process by which data noise is intentionally added in order to randomize quantization error. Used commonly in digital image processing to convert color or spectral gradients into binary operation, these textiles capture a programming error in Photoshop software. The given diffusion dither function in Photoshop’s last several generations fails to seamlessly convert 50% photographic gray into the anticipated ½ white and ½ black pixel field. Instead, a ghost in the machine is revealed. That lapse in the software’s capacity to generate a smooth space is output directly into woven cloth.