Out of Chaos

About the Work

From the Artist

I have been involved with high technology since 1972 when I began working with video. I was trained in printmaking, which, in its day was a type of high technology. Though I have begun concentrating these days in public and sculptural works, the print work continues to connect to my high technology interest with more traditional ideas. 

Technology is a part of my aesthetics. As a part of my conceptual base and I use its concepts with many different media—in video, traditional print media, computer prints, photography, sculpture and wall works, and in public art works. I have been interested in concepts of how humans and human bodies have a direct relationship with some of the precepts of high technology. How machines are designed and often based on human processes or at least seem to be based in human and natural phenomena. In addition, we are in the transition zone, almost making our way through the transition from the Industrial Age to the Information Age, from analog systems to digital systems, from the real world to the simulated or virtual world. What this means for our lives is incredible and it is important and how we think of ourselves and our experiences as human beings.

 In the print work, I am also investigating ideas and transition, movement from one state to another, connections between technology, man, and nature. I explore edges between the states and the edges of more formal aesthetic issues. I would like people who view my work to become more aware and perceptive and to pay more attention to the complexities of the world around them. 
_{—From Brandywine Workshop and Archives records}

Out of Chaos, by Norie Sato, is a delicate offset lithograph in an edition of 70. Subtle colors printed in five different hues achieve velvety nuances and imply transition and movement. Sato is a master of subtly distinct mark-making using computer and hand drawing. Her excitement stems from the coexistence of computer-generated and hand-drawn images. Nori Sato is best known for her personal, lyrical video works, as well as her series of large color lithographic prints inspired by the subtle lines and dots on untuned television screens. She has been fascinated by the electronic space between images, as well as the edges and margins of transmission that resolve into meaning as they move toward the center of our vision.
_{—Adapted from Brandywine Workshop and Archives records, Seattle Art Museum's exhibition In Public: 1991 (1992) and "Fresh, Human and Personal: Signature of Brandywine Workshop," Three Decades of American Printmaking: The Brandywine Workshop Collection (Manchester, VT: Hudson Hills Press, 2004)}