May 1, 2012
Or at least, that’s what I’m calling it anyway. It’s part of my artist’s statement for my entry to the Art Takes Times Square competition, where you can vote for me by clicking on ‘Collect Me’, and help me win the chance to have the work below shown in Times Square.
This is my artist’s statement and collection I submitted in full:-
I create computer coded, algorithmic art. My basic technique is writing code which progressively fills a given area following arbitrary rules and mathematics.
A ‘seed’ image is iterated randomly with unique size, position and orientation (and colouring sometimes), without any overlapping, until a space is filled up, the program code then stops, and the piece is complete, but often I’ll use the results as the seed image for the next piece, creating an iterative, feedback process, which continually evolves and mutates into new compositions through experimentation and discovery.
The basic seed image I start with is usually cultural, political, spiritual, or from nature. I’m fascinated by symbols and icons, and the uniqueness of each shape, and how, when iterated into infinity, you see its self-similar qualities emerge and unravel guiding the overall composition and structure, qualities shared by the DNA helix, fractals and nature.
Although the work is computer generated, I still think like an artist. How will I fill this particular area ? – what kind of feel and tone do I want, and how will I write or change the code to achieve this? Or maybe I’ll just randomly change some numbers and see what happens. Generative computer art doesn’t have to be a movement or field of art in itself, it’s maybe just an evolution of fine art.
By accident, or design, a lot of pieces end up like mandalas and mosaics, guided by the geometric and organic principles.
This collection is some of my recent work, using themes and symbols from New York City, Andy Warhol, my studio’s monogram logo and the Dingbat font.
April 29, 2012
Hi folks, if you can, you can help me win a competition to have my work exhibited in Times Square. Click this link, and then click on ‘Collect Me’. Thanks!!
April 11, 2012
Have been playing around with the Space Filling code I’ve so enjoyed developing in the past. I’ve spent time optimising the code, ensuring that it looks good at high res, so that art works could be created for print / wall murals etc.
The basic premise of the Processing code is to randomly and repeatedly place a shape or graphic in an empty space until there is no room left, upon which the graphic is made smaller, and the testing begins again to fill in available spaces. This is repeated until the graphic is ‘infiniely’ small.
The result is a sort of fractal iteration. The source graphic, be it a logo, letter, number or abstract shape always seems to create its own unique composition, which retains the characteristics of the original image, and captures its essence in the millions of iterations. Sometimes I’ll use an invisible matte layer to guide the contours, such as a circle or heart shape.
My next few blogs will probably see me develop a series of art works like these, where I’ll develop and experiment with the ‘filling’ algorithm.
To start with here’s the logo of my agency and studio in New York – Culture Shock, followed by some high res, iterative art.
April 9, 2012
I’ve finished my CGI work for the full dome planetarium film Ancient Skies.
Thought I’d show one of the converted frames from the 4k dome master, to a flat version suitable for creating an HD master. It’s a nice way to appreciate the work – these are full res frames.
I’m proud of the work I done on this. If you go through my previous blogs, you’ll see how I created the parchment texture from scratch procedurally using Perlin noise layers to create complex textures, that can also flow and animate like clouds. The hatching & sketching effect I coded purely in Processing - it’s a filtering process which takes in a grayscale source image and draws thin (polygonally generated) black lines and adjusts width depending on the 0-255 brightness value of each underlying pixel (again previous blogs show me developing this code).
The actual model and animation of stone henge was done in 3ds max. So all in all this has something which has stretched my whole capabilities as a digital artist – everything from 3d, procedural generation, & self coded image fx.
November 22, 2011
My music video for Peter Gabriel – The Nest That Sailed The Sky is featured in Onedotzero’s new Adventures in Motion festival – there’s a special free screening of Processing works this week at the BFI in London, details here and below.
code warriors: a decade of processing [FREE]
onedotzero celebrates 10 years of the programming language Processing. Open source, it encompasses a development environment and an online community promoting software literacy within visual arts. A specially curated highlights package of past and present works in motion in association with CreativeApplications.net. See extended session panel with artists Q&A and workshop.
Free drop-in screenings:
Thu 24 Nov | 12:00-14:30 | Studio
Fri 25 Nov | 14:30-1700 | Studio
Sat 26 Nov | 10:00-14:00 | Studio
Sun 27 Nov | 14:30-17:00 | Studio