Novatt is an artist often examined through constraining connotations of chaos theories.
Burgess Modern + Contemporary begins to disseminate and dissect Novatt’s seemingly random elements which are in fact governed by deterministic laws such as gravity.
In the new Hurácan Sculpture Series, Novatt examines discernments of balance with his geometric shapes that build upon, morph within, and volley around each other. It is within these undefined quadrilateral forms that the artist examines the critical analysis of scale and weight. Hurácans’ upward and outward mobilities can be characterized as infinite as the artist probs the perceived absolutes of spatial realities, both physical and transcendental. In this conceptual yet constructed formalism of linear constructs resides Novatt’s self-reliant artistic vocabulary.
In the verisimilitude of our everyday existence, the real definition of the demarcated Kármán Line does not conclude at any given elevation within Earth’s atmosphere, it is merely a subjective definition in man’s rudimentary scientific exploration. In Novatt’s Kármán Line monotypes showcased in this exhibition, the artist interprets conjectures of atmospheric and altitudinal dimensions maneuvering beyond the two-dimensional ocular to a more astomatous reality. As reflective of mankind’s elementary atmospheric assessment, the artist’s visual forms take on the role of what we recognize as a drawing, where linear principles drive the viewer to follow the spontaneous but purposefully arranged composition through calculated routes of intersecting boundaries, edges, configurations, and angles. Through these drawings, Novatt embarks on the colossal and ostensibly unobtainable occupation of relinquishing visual anchors of reference to the viewer for them to understand the conceptual and physical propinquity. The linguistic dichotomy of the two colors renders a flat image, yet the conceptual depth exists in the theoretical planes found between foreground and background and between line and shape.