Darel Carey is a visual artist based in Los Angeles. He was born in Curaçao, and grew up in Colton, California. He served in the US Air Force as a language analyst for 11 years, then separated in 2012 to pursue a career in art, graduating from Otis College of Art and Design with a Bachelor of Fine Arts degree in 2016. His current work includes dimensional line drawings and immersive tape installations. Optical and spatial perception are his main focus; he uses lines to shape and bend the perceived dimensions of a surface or a space. Darel has always had an affinity towards spatial perspectives and illusion, and is fascinated by our visual understanding of the world around us. He is influenced by MC Escher’s geometrical illusions and tessellations, Carl Krull’s line drawings, and Bridget Riley’s optical paintings. Forming his line combinations organically, he appreciates the beauty of patterns and emergent properties found in nature, and attempts to embody these attributes in his art.

Line sequences in varied configurations create an illusion of dimension. I call this Dimensionalization. Two dimensions can be perceived as three, and vice versa. On a two-dimensional space, a flat surface, many lines juxtaposed in varying distances at different points can be perceived as three-dimensional. In a three-dimensional space, following a similar concept, lines moving from the floor to the wall to the ceiling can appear to occupy space in mid-air from various vantage points, which creates a perceived topographical space, transforming the visualized landscape of an area.
This dimensionalizing art compels you to look at a surface or a space differently, to contemplate your own perception and the environment around you. My goal is to navigate the line between what we see and what is, in hopes of better understanding the breadth of our visual perception.

Darel Carey’s Mind-Bending Tape Installations

Los Angeles-based artist Darel Carey transforms rooms and spaces into optical illusions based on mathematical conceptualization.


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