14 Paintings

July 4, 2012

“I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information.” – Gerhard Richter

Just a little experiment to extend Richter’s thoughts into the world of digital by using his original paintings as a starting point, outlining the creative potential of computer code to enhance and/or alter the process of painting and image creation. The technique takes random source points to create simple geometric shapes that are based on the underlying color palette. The placement of the shapes is based on mathematical and programming logic.

Most people only see the end result of digital work, ignoring the process. But the formal workings of digital art have parallels with the techniques and theoretical concerns of fine art, offering limitless possibilities.

Draw Mohammad Day?

May 21, 2012

My contribution to the Draw Mohammad Day yesterday. Everyone seemed to be hell bent on drawing offensive, insulting images and starting a Holy War. Thought I’d try to do something nice instead with generative art (math & code), and still make a point about freedom of speech.

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.

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!!



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.


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