• the Ghost & the Maze
  • Bionumeric Organisms
  • Cumulative Shadow
  • The numbers are the body of the fog
  • Secret Tongues
  • No future homeworlds
  • Options for a racist
  • Redactions
  • In the Summer so too the Winter
  • Jovencio de la Paz
  • Every stitch the same as the last
  • Didderen
  • Weave Draft Aberrations
  • The Harmony of the Spheres
  • Brand New Rug
  • Return to Great Mother's Infinity
  • Bluets (for Maggie Nelson)
  • Craft Mystery Cult
  • Curriculum Vitae
  • Contact
Jovencio de la Paz
the Ghost & the Maze
Bionumeric Organisms
Cumulative Shadow
The numbers are the body of the fog
Didderen
Secret Tongues
No future homeworlds
Options for a racist
Weave Draft Aberrations
Brand New Rug
Every stitch the same as the last
Redactions
The Harmony of the Spheres
In the Summer so too the Winter
Return to Great Mother's Infinity
Bluets (for Maggie Nelson)
Craft Mystery Cult
Curriculum Vitae
Contact

My work and research is situated within the unfolding relationship between ancient weaving technology (the loom) and modern computers. I approach this intersection as a traditionally trained weaver, but also as a digital native. Sharing the same language of binary code, I see this relationship as both fraught and fruitful. Using the digital TC2 (Thread Controller 2) Jacquard loom, I manipulate, hack, confound, and fracture design software to explore and test the boundaries of how cloth is typically conceived. I push design software to the point of rupture or failure, capturing the physicality of these behaviors as the warp and weft of hand-woven textiles. 


The resulting weavings often display frenzied patterns: distorted, agitated, or corrupted. I revel in the conflicts that arise between the digital and the physical, between traditional forms and emerging technologies, and I am always sensitive to the presence of the ghosts in the machines I use. Additionally, I work to create new software, drawing tools, and self-generating, parametric systems that employ “computational creativity” to make weaving patterns independently from a human designer. My visual language relinquishes much formal determination to the algorithmic operations I choose. I collaborate with this computational creativity to weave cloth that is neither entirely human nor completely machine in origin. What emerges is often an alien visual language, a vernacular of line, color, and shape that surfaces from the interior, computer world of algorithms. 


I am interested in the soft world of machines and their programming, obscured by the rigidity of technocracy and the structures of capital; a queer and cyborg theory emerges from the intimacy of dissecting the machine or electing programs as collaborators. I question the subject/object relationship generally established between maker and tool, and I contemplate the possibility that tools form the maker as much as they are wielded, teaching their users what is possible within their disciplines, and physically influencing the products and outcomes of the studio. So it has been since ancient craftsmanship. It is important to me that the digital TC2 loom remains a hand-operated loom, so that the meeting of machine and human remain integral to the process of weaving. 


My work and research is situated within the unfolding relationship between ancient weaving technology (the loom) and modern computers. I approach this intersection as a traditionally trained weaver, but also as a digital native. Sharing the same language of binary code, I see this relationship as both fraught and fruitful. Using the digital TC2 (Thread Controller 2) Jacquard loom, I manipulate, hack, confound, and fracture design software to explore and test the boundaries of how cloth is typically conceived. I push design software to the point of rupture or failure, capturing the physicality of these behaviors as the warp and weft of hand-woven textiles. 


The resulting weavings often display frenzied patterns: distorted, agitated, or corrupted. I revel in the conflicts that arise between the digital and the physical, between traditional forms and emerging technologies, and I am always sensitive to the presence of the ghosts in the machines I use. Additionally, I work to create new software, drawing tools, and self-generating, parametric systems that employ “computational creativity” to make weaving patterns independently from a human designer. My visual language relinquishes much formal determination to the algorithmic operations I choose. I collaborate with this computational creativity to weave cloth that is neither entirely human nor completely machine in origin. What emerges is often an alien visual language, a vernacular of line, color, and shape that surfaces from the interior, computer world of algorithms. 


I am interested in the soft world of machines and their programming, obscured by the rigidity of technocracy and the structures of capital; a queer and cyborg theory emerges from the intimacy of dissecting the machine or electing programs as collaborators. I question the subject/object relationship generally established between maker and tool, and I contemplate the possibility that tools form the maker as much as they are wielded, teaching their users what is possible within their disciplines, and physically influencing the products and outcomes of the studio. So it has been since ancient craftsmanship. It is important to me that the digital TC2 loom remains a hand-operated loom, so that the meeting of machine and human remain integral to the process of weaving.