Ordinary Becomes Extraordinary in the Pattern Art of Dan Funderburgh

Patterning is as ancient an art as noticing patterns in nature; from the tessellations of the Egyptians, to the pre-geometry of the Pagans and Gnostics, a certain sacredness pervades in the art of repetition, rotation, and realignment—one every bit as profound as painted on the walls of the pyramids as it is placed in today's premium cable. Who among us can forget the impermanent beauty of the Buddhist mandala built and brushed away in House of Cards? Or even the psychedelic kaleidoscope freakout of The Big Lebowski?

It is with this same adoration that The Creators Project brings you the work of Dan Funderburgh. Since his move to New York in 2001, the Brooklyn-based artist, designer, and illustrator has been decorating the world with his new-ideas-meets-old-school approach to patterns and ornamentation. He's worked with brands from Brooks to The Paris Review, and homes and hotels, from here to Miami, have been wrapped in his idiosyncratic wallpapers.

In essence, he's the kind of hybrid artist/designer who keeps tradition thriving while pushing its eternal effects into the future. The Creators Project reached out to Funderbergh to talk inspiration, ideation, and turning the mundane objects of today into timepieces charting a course towards tomorrow.

The Creators Project: First off, can you tell me about a few of the childhood experiences that led to your illustrations? 

Dan Funderburgh: I'm still trying to figure that one out exactly. The closest thing to a childhood influence would probably be the TinTin comic books. Hergé paid a lot of attention to cultural and architecture detail in his drawings. I cannot get enough of that guy.

Who are some of your visual influences? How about cultural?

Visually I'm drawn to so many different styles. I obviously love historical ornament — almost anything at the Metropolitan Museum, but I'm also drawn toward utilitarian and ergonomic shapes. Lately I've liking Siberian folk art and Indonesian/Javanese weaving and embroidery, but could be anything. Walking around in New York City must be a factor as well because I keep finding chainlink and milk crates in my work.