Today I bid farewell to my ten-year commercial art identity as 'The Supernature' with a look at some favorite past projects -- and I contemplate the slightly fascist undertones behind my experience getting banned from Facebook.Read More
WEEKEND LINKS & READING
EXHIBITION: She Who Sees The Future
BOOK: A Primer for Cadavers
WEBSITE: Ergonomic Futures
ART REVIEW: Election Memes ...
Okay, one more bit of old business, but one that transitions into the now. I've been working on a series of looping 'generative drawing' animations, which on the one hand was just a bit of fun, formalist play, but if you think about it , also functions as a kind of 'Turing Test', which is a concept that's really driving me right now. How far can one push the parameters of an algorithmic system to produce something that is convincingly "expressive"? What are the boundaries of the 'gestural' in contemporary digital art and animation, which is increasingly automated and procedural?
If this is the kind of question that's important to you, then you've probably already argued for or against the encroachment of digital production into the vexatiously ever-widening parameters of what painting means. The authenticity of the artist making a mark, so to speak, may be subsumed behind the screen, mouse or tablet pen, but still manifests in a zone somewhere between the material and the computational ... in the case of this series of work, tweaking parameters of the system, until I arrive at my own kind of aesthetic confirmation bias.
A modified collection of these animations, titled GUIDE, was commissioned for the Electric Objects digital art streaming platform. The above video shows the anims playing on the custom EO screen (get yours today!), captured on a nice balmy afternoon at my studio here in Omaha.
You can watch a more detailed clip of the animations in the GUIDE collection on the website HERE.
A bit of old business to circle back on, before we start with the new. I have updated the 'Public Art' section of the website with a completely revamped & re-edited look my largest public video art project to date, a series of 35 commissioned works from 2014, collectively renamed Synchromatics to better reflect the original concept. You can also read an expanded artist statement that talks about the "visual music" concept in greater depth. I've broken the videos up into into four thematic montage reels, which lets me highlight the themes a little clearer (abstraction, still life, landscape etc).
If you've followed this project in the past or seen the video snippets I've posted online, you can refresh your impressions with a few pieces that have never been shown before, outside of the original installation.
Visit the SYNCHROMATICS project page here. Or just click on the Public Art tab in the main menu.
It's always hard to get these kinds of things started, so I thought I'd kick off the blog with a couple announcements. First, I've left NYC for the time being after 12 amazing years, it was simply time to change perspectives and cleanse the palate. Second, I'm currently an artist in residence at the Bemis Center in Omaha, which is what gave me the motivation to hit the road in the first place. The residency actually has a theme, "Sci-Fi and the Human Condition", which is a very open field, really, across the vast range of fantasy, fiction, film theory, cultural studies, and of course in the real world where technology has taken such control over our inner lives & creative time. Many avenues to explore & plenty of work to be done.
So, the plan is to use this section as a kind of diary for the things I'm working on, looking at and thinking about -- the psychic noise here is significantly lower here than NYC by several orders of magnitude -- and given my natural tendencies towards distraction and wandering, please check back in periodically, to make sure I'm staying on point.
Blog section & studio news coming soon.