Artsy: Can you talk us through the stages in your process?
Gordon Cheung: In “Breaking Tulips” there are four distinct groups of works: paintings, glitched photography of paintings, “Tulipmania” and the “Auguries of Innocence” series. Within each body of work I explored a different set of techniques and processes; it’s difficult for me to really pin down where any one work begins as it all starts with an idea that grows into something I am compelled to make physically. Often new ideas start germinating as the works are being completed.
Before any work is physically produced I spend a lot of time on a computer where I work through many decisions before I commit to work in the studio. Once all the computer work is ready an archival inkjet image is printed onto pre-prepared collages of stock market listings and is then cut and pasted to form the multilayered paintings.
With the archival inkjet prints in “New Order” series, the original images are from the Rijksmuseum’s open source library. I selected several still lifes and used an open source algorithm to render the photographs of the paintings into a kind of digital quicksand effect. The algorithm essentially re-orders the pixels resulting in over 4,000 images; I choose four as the final works.