September 20, 2012
This is my latest animation, turning the entire world of media and internet into an endless animated recursive fractal. It’s actually a prototype of software I coded that generates in real time from a live feed. It’s all about turning information into art.
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.
March 15, 2012
Some of my work featured at the Armory Show/VOLTA in New York last week.
August 21, 2010
Latest painting mode implemented in my Art Cam app, giving the look of an old cracked oil painting.
The shots of the park and trees make use of a an exposure lock feature I just built in too – I can point the phone to a bright part of the sky, lock the exposure, and then recompose the shot lower down on some shaded glade areas in the trees – picking up some nice shadows and warm evening greens and highlights.
Suprisingly I’m still not playing around with colorzing the palette – the painting algorithms seem to do a good job of taking the actual image from the camera and reproducing the colors in an artistic way without actually changing the color. One aspect of this is perhaps how the video noise (fluxuations in RGB values based on thermal interference etc) combined with the space/color averaging technique from my Mosaic code, are naturally creating an artistic impression of the colors.
I’m having a lot of fun going about taking snaps like this, as immediate ‘paintings’. You’re constantly looking at the world through an impression of it, which subtly is synthesizing the notion of art and photography. Painters after all strive to give an impression of the real world through the veil of brush strokes and color mixing. Why shouldn’t computer algorithms be doing the same?