Up Close
I believe that great works of art can be appreciated from three perspectives: the detailed view, the sectional view, and the whole. The detailed view focuses on the smallest elements, like brushstrokes or textures. The sectional view explores how individual parts connect and interact with each other. And the whole view is about stepping back—taking in the complete work, the full composition, and the feeling it creates as a unified piece.
Today, we spend more time than ever looking at screens. From the early days of cathode ray tubes, to LCDs, and now OLED and microLED displays, screens have evolved rapidly. What started with one screen in a household has become many screens in every pocket, bag, and room. For work, communication, entertainment, and creativity—screens are now embedded in almost every part of daily life.
As Kevin Kelly wrote in The Inevitable (2016):
We are all people of the screen.
We fit screens onto every possible surface—flat or curved—and view them from all kinds of angles and devices. When observed from certain distances or through other mediums, like viewing a screen through a camera, patterns start to emerge. What appears as individual red, green, and blue subpixels up close begins to blend into a single color from afar. The screen’s grid of light becomes a unified image.
This work exposes on that transition. As screen technology continues to evolve—pushing higher resolutions, better colors, and denser pixels—we move closer and closer to seamless visuals. But by stepping in and examining the smallest building blocks, we rediscover the structure behind the surface. With this piece, we take a step closer.