In much the same way as various philosophies shape our notions about the meaning of life, I use the grid as a way of looking at the world around us. Then essential framework for architecture and spatial arrangement, the three-dimensional grid, has long been part of my thought process, as part and parcel of my interest in this area. It is, therefore, integral to my explorations into how form comes into being. Here, as the grid is freed from the two-dimensional plane, it forms a troupe of dynamic and responsive structural networks. In motion independently, these circulinear lines create moiré patterns of connection and a fabric through which we move. In my native Louisiana, the impressive barbe espagnole behaves in much the same way…hanging, flowing lines, constantly in motion, however subtle. Activated by the invisible energies within an exhibition space people moving about and air being manipulated by handling systems, these suspended screen structures respond as barbe espagnole in nature, rarely in full repose. There is an openness to these suspended screen structures, but the interference of the grid overlays obscures slightly, much as a veil blocks the perfect view. This is an entirely appropriate allegory, I think, to the notion of sensitive dependence within chaos theory where very small, simple systems can cause other, more complex events.
Kotara spent four years studying artchitecture until he returned to his art career. He earned his BFA in Graphic Design and his MFA in Studio Art in Louisiana. He has had over 100 exhibitions nationwide, and his work exists in the collection of the Asheville Art Museum, the Louisiana State Museum, and Masur Museum of Art. Kotara currently serves as adjunct-factulty at Mars Hill College.