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0x0000…16ba

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0x76a5e520…f436sent to0x00000007…16ba·#25,726,707·0x96b08d7c…03633f
# 555 Unique Titles Together the titles can be seen as the tragic inner-monologue of an insecure, self-scathing and neurotic Jankist artist battling against a world of AI-uncertainty, hyper-distraction and attention-economics. Jankpop taps into the chaotic brokenness and fragile loneliness of souls that become too deeply dependent on online communities and anesthetized by the endless torrent of information consumption. There might be a real cost to the experiment many of us are participating in, which will not be revealed for generations to come. # Jankpop, Avant Gay and AbEx * **Avant Gay** Avant Gay might be where the real punk movement within digital art is emerging right now. It is raw, expressively powerful and is proud of its lack of etiquette. It's playing by its own rules. To me, it feels like it's being created by real grassroots artists, not by market strategists or tech nerds. Nor does the culture feel corrupted by inflated pricing, or overly lofty curation. * **Jankpop and Avant Gay** Without pretending to be Avant Gay, Jankpop is my own code-art response to this evolving creative energy blended with my long held fascination with mid 20th Century Abstract Expressionism. I want to make work that reflects the frenetic turbulence and hyper-distraction of being a human in the age of digital information with all its challenges. I feel the Avant Gay movement also reflects this uncharted challenge and assault on our psyche. Gay NFTs however are layered with rich internet references, cultural artifacts and esoteric knowledge. * **Jankpop and AbEx** Although I tackled figurative symbolism with chatFUKR I wanted this project to remain principally abstract because of my deep affinity for Mid Century Abstract Expressionism. Although AbEx said what it had to say over half a century ago I feel code-art offers a new way to revisit the core energy of that movement. The context and conceptual framing is of course different, but the raw visual violence of that period is something I feel has relevance again today. In a sense I see myself as an AbEx revivalist on a course of hard Gay NFT steroids. # Practice Notes * **Code Painting as Old School Technology** JavaScript, the programming language I use to make art, is now over 30 years old. Code based algorithmic art emerged 50 years prior to that. Paint, brushes and canvas is a technology that’s been around for centuries and yet painters continue to extend the possibility space of the medium. I feel there is beauty and even an artistic advantage to using well established or even obsolete technology to make art. Personally, not chasing the ever changing cutting edge of technology enables me to just think about picture-making which is really 90% of what I care about. * **Thoughts on Code as a Direct Craft and AI** The most direct way for me to think about my art is algorithmically. Code is the most direct way for me to craft mark-making and composition. There is no way for me to explain to AI in natural language what it is I want to do. Besides, the actual act of coding has never been a bottle neck in my practice. It's also a process I love so there is not even a desire to offload it even if AI could do it for me. A craft is a feedback loop. The medium an artist works with provides feedback about how to proceed. Art is a product of a dance between artist and medium. If I used AI then there would be a black box in between me and my intention. I touch the canvas through the code. This is a direct craft just like drawing and painting. When I used to paint, I loved the act of painting. When I make ceramics I love the interaction with the clay. I use AI to help automate printing and learn more about efficient coding, but thus far I've had no desire to invite it into my real practice. Making art has nothing to do with increasing productivity, it is about slowing down and becoming intimate with your process and medium. BTW, I don't see AI art as being more or less inferior. It's just a different medium. Luckily, every artist is free to find the mediums that resonate with them. * **Art and the False Reward of Productivity** Anyone who spends a lot of time creating will know deeply how limitation and constraint are keys to expression. They will know how slowness, meditation and contemplation are powerful gateways to understanding ourselves and what it is we actually want to say through our creativity. People who get excited by the promise of 10x productivity offered by AI, I imagine see this as translating to 10x profit. Maybe that’s true if you are in the business of mass production or scaling generic services. 10x productivity however, to many true creatives will seem like the very antithesis of what they want from their practice. Having 100 fingers would not be a guarantee of making more meaningful and beautiful music on the piano. More choice offered by more powerful tools can often be paralyzing and fundamentally unnavigable. It’s much better to have a clear sense of what it is you want to say than endless options of how to say it. * **Art of the Age of Code** Every age has its own art. For me, the age of the Internet, algorithms, AI and the blockchain can most directly be encapsulated with code. Code is the operational layer of all these technologies. Working directly in this layer seems to be the most obvious place to open new frontiers in the space of conceivable art. * **Just Looking — Thinking is Overrated** The technicalities of my work are not the hard part or even the time consuming part of my practice. Probably over half of my time in my studio is spent just looking and building an intuition of how to proceed. **‘Just looking’** is the key to my practice. This means looking without thinking, without intention, without judgement — nothing to gain, nothing to lose, just looking. Programming is always subservient to visual intuition and emotional impulse. My practice isn't an intellectual exercise in the same way falling in love isn't an intellectual exercise. You cannot reason yourself into or out of love, and you cannot reason yourself into making images that genuinely move you. * **The Internet as Medium** Long-form generative art is often described as code. But code is only part of the story. The medium exists because of the accumulated evolution of the internet itself. * **Web1:** HTML, Canvas, JS, WebGL, SVG, Gif * **Web2:** Online community participation, social media, modern browsers, simple UIs and UX * **Web3:** NFT protocols and markets Long-form generative art is the product of all three. It represents, to me, one of the purest artistic expressions of the internet age.
0x76a5e520…f436sent to0x00000007…16ba·#25,726,695·0x100c3341…d70a3e
# 555 Unique Titles Together the titles can be seen as the tragic inner-monologue of an insecure, self-scathing and neurotic Jankist artist battling against a world of AI-uncertainty, hyper-distraction and attention-economics. Jankpop taps into the chaotic brokenness and fragile loneliness of souls that become too deeply dependent on online communities and anesthetized by the endless torrent of information consumption. There might be a real cost to the experiment many of us are participating in, which will not be revealed for generations to come. # Jankpop, Avant Gay and AbEx * **Avant Gay** Avant Gay might be where the real punk movement within digital art is emerging right now. It is raw, expressively powerful and is proud of its lack of etiquette. It's playing by its own rules. To me, it feels like it's being created by real grassroots artists, not by market strategists or tech nerds. Nor does the culture feel corrupted by inflated pricing, or overly lofty curation.
0x76a5e520…f436sent to0x00000007…16ba·#25,726,681·0xd18f5120…73fcf7
# 555 Unique Titles Together the titles can be seen as the tragic inner-monologue of an insecure, self-scathing and neurotic Jankist artist battling against a world of AI-uncertainty, hyper-distraction and attention-economics. Jankpop taps into the chaotic brokenness and fragile loneliness of souls that become too deeply dependent on online communities and anesthetized by the endless torrent of information consumption. There might be a real cost to the experiment many of us are participating in, which will not be revealed for generations to come. # Jankpop, Avant Gay and AbEx **Avant Gay** Avant Gay might be where the real punk movement within digital art is emerging right now. It is raw, expressively powerful and is proud of its lack of etiquette. It's playing by its own rules. To me, it feels like it's being created by real grassroots artists, not by market strategists or tech nerds. Nor does the culture feel corrupted by inflated pricing, or overly lofty curation.
0x76a5e520…f436sent to0x00000007…16ba·#25,726,652·0x25ceb690…62a17b
# 555 Unique Titles Together the titles can be seen as the tragic inner-monologue of an insecure, self-scathing and neurotic Jankist artist battling against a world of AI-uncertainty, hyper-distraction and attention-economics. Jankpop taps into the chaotic brokenness and fragile loneliness of souls that become too deeply dependent on online communities and anesthetized by the endless torrent of information consumption. There might be a real cost to the experiment many of us are participating in, which will not be revealed for generations to come. # Jankpop, Avant Gay and AbEx ## Avant Gay Avant Gay might be where the real punk movement within digital art is emerging right now. It is raw, expressively powerful and is proud of its lack of etiquette. It's playing by its own rules. To me, it feels like it's being created by real grassroots artists, not by market strategists or tech nerds. Nor does the culture feel corrupted by inflated pricing, or overly lofty curation. ## Jankpop and Avant Gay Without pretending to be Avant Gay, Jankpop is my own code-art response to this evolving creative energy blended with my long held fascination with mid 20th Century Abstract Expressionism. I want to make work that reflects the frenetic turbulence and hyper-distraction of being a human in the age of digital information with all its challenges. I feel the Avant Gay movement also reflects this uncharted challenge and assault on our psyche. Gay NFTs however are layered with rich internet references, cultural artifacts and esoteric knowledge. ## Jankpop and AbEx Although I tackled figurative symbolism with chatFUKR I wanted this project to remain principally abstract because of my deep affinity for Mid Century Abstract Expressionism. Although AbEx said what it had to say over half a century ago I feel code-art offers a new way to revisit the core energy of that movement. The context and conceptual framing is of course different, but the raw visual violence of that period is something I feel has relevance again today. In a sense I see myself as an AbEx revivalist on a course of hard Gay NFT steroids. # Practice Notes ## Code Painting as Old School Technology JavaScript, the programming language I use to make art, is now over 30 years old. Code based algorithmic art emerged 50 years prior to that. Paint, brushes and canvas is a technology that’s been around for centuries and yet painters continue to extend the possibility space of the medium. I feel there is beauty and even an artistic advantage to using well established or even obsolete technology to make art. Personally, not chasing the ever changing cutting edge of technology enables me to just think about picture-making which is really 90% of what I care about. ## Thoughts on Code as a Direct Craft and AI The most direct way for me to think about my art is algorithmically. Code is the most direct way for me to craft mark-making and composition. There is no way for me to explain to AI in natural language what it is I want to do. Besides, the actual act of coding has never been a bottle neck in my practice. It's also a process I love so there is not even a desire to offload it even if AI could do it for me. A craft is a feedback loop. The medium an artist works with provides feedback about how to proceed. Art is a product of a dance between artist and medium. If I used AI then there would be a black box in between me and my intention. I touch the canvas through the code. This is a direct craft just like drawing and painting. When I used to paint, I loved the act of painting. When I make ceramics I love the interaction with the clay. I use AI to help automate printing and learn more about efficient coding, but thus far I've had no desire to invite it into my real practice. Making art has nothing to do with increasing productivity, it is about slowing down and becoming intimate with your process and medium. BTW, I don't see AI art as being more or less inferior. It's just a different medium. Luckily, every artist is free to find the mediums that resonate with them. ## Art and the False Reward of Productivity Anyone who spends a lot of time creating will know deeply how limitation and constraint are keys to expression. They will know how slowness, meditation and contemplation are powerful gateways to understanding ourselves and what it is we actually want to say through our creativity. People who get excited by the promise of 10x productivity offered by AI, I imagine see this as translating to 10x profit. Maybe that’s true if you are in the business of mass production or scaling generic services. 10x productivity however, to many true creatives will seem like the very antithesis of what they want from their practice. Having 100 fingers would not be a guarantee of making more meaningful and beautiful music on the piano. More choice offered by more powerful tools can often be paralyzing and fundamentally unnavigable. It’s much better to have a clear sense of what it is you want to say than endless options of how to say it. ## Art of the Age of Code Every age has its own art. For me, the age of **[the Internet, algorithms, AI and the blockchain]** can most directly be encapsulated with code. Code is the operational layer of all these technologies. Working directly in this layer seems to be the most obvious place to open new frontiers in the space of conceivable art. ## Just Looking — Thinking is Overrated The technicalities of my work are not the hard part or even the time consuming part of my practice. Probably over half of my time in my studio is spent just looking and building an intuition of how to proceed. **‘Just looking’** is the key to my practice. This means looking without thinking, without intention, without judgement — nothing to gain, nothing to lose, just looking. Programming is always subservient to visual intuition and emotional impulse. My practice isn't an intellectual exercise in the same way falling in love isn't an intellectual exercise. You cannot reason yourself into or out of love, and you cannot reason yourself into making images that genuinely move you. ## The Internet as Medium Long-form generative art is often described as code. But code is only part of the story. The medium exists because of the accumulated evolution of the internet itself. * **Web1:** HTML, Canvas, JS, WebGL, SVG, Gif * **Web2:** Online community participation, social media, modern browsers, simple UIs and UX * **Web3:** NFT protocols and markets Long-form generative art is the product of all three. It represents, to me, one of the purest artistic expressions of the internet age.
0x76a5e520…f436sent to0x00000007…16ba·#25,719,271·0x1a6e0650…5f4937
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0x76a5e520…f436sent to0x00000007…16ba·#25,719,251·0xcb36cbe8…46a98e
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0x76a5e520…f436sent to0x00000007…16ba·#25,719,245·0x52f1392d…22b0bb
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0x76a5e520…f436sent to0x00000007…16ba·#25,719,237·0xbdeec540…e8ff49
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0x76a5e520…f436sent to0x00000007…16ba·#25,696,542·0x906c4d16…ac1f35
Avant Gay might be where the real punk movement within digital art is emerging right now. It is raw, expressively powerful and is proud of its lack of etiquette. It's playing by its own rules. To me, it feels like it's being created by real grassroots artists, not by market strategists or tech nerds. Nor does the culture feel corrupted by inflated pricing, or overly lofty curation. # . # Without pretending to be Avant Gay, Jankpop is my own code-art response to this evolving creative energy blended with my long held fascination with mid 20th Century Abstract Expressionism. I want to make work that reflects the frenetic turbulence and hyper-distraction of being a human in the age of digital information. I feel the Avant Gay movement also reflects this uncharted challenge and assault on our psyche. Gay NFTs however are layered with rich internet references, cultural artifacts and esoteric knowledge. # . # Although I tackled figurative symbolism with chatFUKR I wanted this project to remain principally abstract because of my deep affinity with Mid Century Abstract Expressionism. Although AbEx said what it had to say over half a century ago I feel code-art offers a new way to revisit the core energy of that movement. The context and conceptual framing is of course different, but the raw visual violence of that period is something I feel has relevance again today. In a sense I see myself as an AbEx revivalist on a course of hard Gay NFT steroids.
0x76a5e520…f436sent to0x00000007…16ba·#25,652,985·0xf18b217e…be1de2
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0x76a5e520…f436sent to0x00000007…16ba·#25,649,750·0x44cab031…0fb407
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0x76a5e520…f436sent to0x00000007…16ba·#25,649,749·0x2cd5a754…f1085b
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0x76a5e520…f436sent to0x00000007…16ba·#25,649,747·0x6b4b5879…52a2d6
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0x76a5e520…f436sent to0x00000007…16ba·#25,649,745·0x18038420…473d64
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0x76a5e520…f436sent to0x00000007…16ba·#25,649,742·0x5114d71d…c11bf3
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0x76a5e520…f436sent to0x00000007…16ba·#25,649,624·0xe08679d4…c397df
Advant Gay might be where the real punk movement within digital art is emerging right now. It is raw, expressively powerful and is proud of its lack of etiquette. It's playing by its own rules. To me, it feels like it's being created by real grassroots artists, not by market strategists or tech nerds. Nor does the culture feel corrupted by inflated pricing, or overly lofty curation. # . # Without pretending to be Advant Gay, Jankpop is my own code-art response to this evolving creative energy blended with my long held fascination with mid 20th Century Abstract Expressionism. I want to make work that reflects the frenetic turbulence and hyper-distraction of being a human in the age of digital information. I feel the Advant Gay movement also reflects this uncharted challenge and assault on our psyche. Gay NFTs however are layered with rich internet references, cultural artifacts and esoteric knowledge. # . # Although I tackled figurative symbolism with chatFUKR I wanted this project to remain principally abstract because of my deep affinity with Mid Century Abstract Expressionism. Although AbEx said what it had to say over half a century ago I feel code-art offers a new way to revisit the core energy of that movement. The context and conceptual framing is of course different, but the raw visual violence of that period is something I feel has relevance again today. In a sense I see myself as an AbEx revivalist on a course of hard Gay NFT steroids.
0x76a5e520…f436sent to0x00000007…16ba·#24,641,419·0xd7b80282…7ddcf8
The Artist Curated (AC) editions of Algorithmic Synesthesia have been carefully selected by Harvey Rayner from tens of thousands of iterations. Each artwork in the limited edition series is custom titled by the artist and includes an algorithmically written signature at the bottom of the work. Collectors of these pieces will receive a large-scale, framed print to complement their digital artwork. See size and print details in the sales notes below. # . # Rayner works with the medium of computer code and mathematics to express human emotion: an unlikely approach to a heart led artistic practice. However the artist insists algorithmic art is a direct craft, even a modern extension of drawing and painting that can be explored with expressionistic intent. # . # Visually, there are few things that express emotion more than the movement and poise of the human form. Social and survival imperatives have led to us evolving a heightened sensitivity to body language and gesture. # . # Algorithmic Synesthesia is an attempt to create a visual language from the abstracted geometry of posture and gesture. Reimagining the gestural mark-making of De Kooning and Bacon through algorithmically authentic processes. # . # Central to the compositions are voluminous stacked forms inspired by Moore and Léger's cubist figures which press and recoil in convulsed poses. Shrouding and veiling these assembled figures are cascades of color. Rayner envisions these as great lamenting outflows. # . # Color in these works is treated like an elemental force. Seen at large printed scales, the uncontrived graphic building-blocks revealed in vivid pigments are bold and unapologetic. This rawness is an analogue of thick painterly brush strokes that on close inspection brings the viewer back to the truth of the surface and the reality of the process. # . # At its deepest level all color and form in these works are algebra, logic and geometry. Participants at Art Basel are invited to co-create never-seen-before artworks by effectively seeding the art-making process with random numbers. The result is a kind of collective synesthesia where numbers have a direct expression as form, color and texture, experienced through the artist’s vision defined in code.
0x76a5e520…f436sent to0x00000007…16ba·#24,635,537·0xe9ed3c0d…4e803a
AC refers to the fact that these 12 artworks are artist curated. Each is given a subtitle which is algorithmically written and signed at the bottom of each work. # . # Rayner works with the medium of computer code and mathematics to express human emotion: an unlikely approach to a heart led artistic practice. However the artist insists algorithmic art is a direct craft, even a modern extension of drawing and painting that can be explored with expressionistic intent. # . # Visually, there are few things that express emotion more than the movement and poise of the human form. Social and survival imperatives have led to us evolving a heightened sensitivity to body language and gesture. # . # Algorithmic Synesthesia is an attempt to create a visual language from the abstracted geometry of posture and gesture. Reimagining the gestural mark-making of De Kooning and Bacon through algorithmically authentic processes. # . # Central to the compositions are voluminous stacked forms inspired by Moore and Léger's cubist figures which press and recoil in convulsed poses. Shrouding and veiling these assembled figures are cascades of color. Rayner envisions these as great lamenting outflows. # . # Color in these works is treated like an elemental force. Seen at large printed scales, the uncontrived graphic building-blocks revealed in vivid pigments are bold and unapologetic. This rawness is an analogue of thick painterly brush strokes that on close inspection brings the viewer back to the truth of the surface and the reality of the process. # . # At its deepest level all color and form in these works are algebra, logic and geometry. Participants at Art Basel are invited to co-create never-seen-before artworks by effectively seeding the art-making process with random numbers. The result is a kind of collective synesthesia where numbers have a direct expression as form, color and texture, experienced through the artist’s vision defined in code.
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CC: (Collector Curated) # . # Rayner works with the medium of computer code and mathematics to express human emotion: an unlikely approach to a heart led artistic practice. However the artist insists algorithmic art is a direct craft, even a modern extension of drawing and painting that can be explored with expressionistic intent. # . # Visually, there are few things that express emotion more than the movement and poise of the human form. Social and survival imperatives have led to us evolving a heightened sensitivity to body language and gesture. # . # Algorithmic Synesthesia is an attempt to create a visual language from the abstracted geometry of posture and gesture. Reimagining the gestural mark-making of De Kooning and Bacon through algorithmically authentic processes. # . # Central to the compositions are voluminous stacked forms inspired by Moore and Léger's cubist figures which press and recoil in convulsed poses. Shrouding and veiling these assembled figures are cascades of color. Rayner envisions these as great lamenting outflows. # . # Color in these works is treated like an elemental force. Seen at large printed scales, the uncontrived graphic building-blocks revealed in vivid pigments are bold and unapologetic. This rawness is an analogue of thick painterly brush strokes that on close inspection brings the viewer back to the truth of the surface and the reality of the process. # . # At its deepest level all color and form in these works are algebra, logic and geometry. Participants at Art Basel are invited to co-create never-seen-before artworks by effectively seeding the art-making process with random numbers. The result is a kind of collective synesthesia where numbers have a direct expression as form, color and texture, experienced through the artist’s vision defined in code.
0x76a5e520…f436sent to0x00000007…16ba·#24,615,244·0x906f52db…7984e9
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0x76a5e520…f436sent to0x00000007…16ba·#24,615,199·0xdda2f8bf…187628
AC: (Artist curated) # . # Rayner works with the medium of computer code and mathematics to express human emotion: an unlikely approach to a heart led artistic practice. However the artist insists algorithmic art is a direct craft, even a modern extension of drawing and painting that can be explored with expressionistic intent. # . # Visually, there are few things that express emotion more than the movement and poise of the human form. Social and survival imperatives have led to us evolving a heightened sensitivity to body language and gesture. # . # Algorithmic Synesthesia is an attempt to create a visual language from the abstracted geometry of posture and gesture. Reimagining the gestural mark-making of De Kooning and Bacon through algorithmically authentic processes. # . # Central to the compositions are voluminous stacked forms inspired by Moore and Léger's cubist figures which press and recoil in convulsed poses. Shrouding and veiling these assembled figures are cascades of color. Rayner envisions these as great lamenting outflows. # . # Color in these works is treated like an elemental force. Seen at large printed scales, the uncontrived graphic building-blocks revealed in vivid pigments are bold and unapologetic. This rawness is an analogue of thick painterly brush strokes that on close inspection brings the viewer back to the truth of the surface and the reality of the process. # . # At its deepest level all color and form in these works are algebra, logic and geometry. Participants at Art Basel are invited to co-create never-seen-before artworks by effectively seeding the art-making process with random numbers. The result is a kind of collective synesthesia where numbers have a direct expression as form, color and texture, experienced through the artist’s vision defined in code.
0x76a5e520…f436sent to0x00000007…16ba·#24,615,071·0x2acb11d9…67cdac
Rayner works with the medium of computer code and mathematics to express human emotion: an unlikely approach to a heart led artistic practice. However the artist insists algorithmic art is a direct craft, even a modern extension of drawing and painting that can be explored with expressionistic intent. # . # Visually, there are few things that express emotion more than the movement and poise of the human form. Social and survival imperatives have led to us evolving a heightened sensitivity to body language and gesture. # . # Algorithmic Synesthesia is an attempt to create a visual language from the abstracted geometry of posture and gesture. Reimagining the gestural mark-making of De Kooning and Bacon through algorithmically authentic processes. # . # Central to the compositions are voluminous stacked forms inspired by Moore and Léger's cubist figures which press and recoil in convulsed poses. Shrouding and veiling these assembled figures are cascades of color. Rayner envisions these as great lamenting outflows. # . # Color in these works is treated like an elemental force. Seen at large printed scales, the uncontrived graphic building-blocks revealed in vivid pigments are bold and unapologetic. This rawness is an analogue of thick painterly brush strokes that on close inspection brings the viewer back to the truth of the surface and the reality of the process. # . # At its deepest level all color and form in these works are algebra, logic and geometry. Participants at Art Basel are invited to co-create never-seen-before artworks by effectively seeding the art-making process with random numbers. The result is a kind of collective synesthesia where numbers have a direct expression as form, color and texture, experienced through the artist’s vision defined in code.
0x76a5e520…f436sent to0x00000007…16ba·#23,713,554·0xdba4f99e…bbc80c
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# Covehithe: An algorithmic study of ancestral landscape # **Cove:** *a small sheltered bay; a concave arch* **Hithe:** *a small port, harbor or haven especially on a river* # . # [ Covehithe is an expression of my deep connection to a remote stretch of coastline near my hometown in England. Rather than setting out to create literal landscape scenes I wanted to find a new authentically algorithmic interpretation of the landscape. This means using certain rudiments of landscape art as primitives in a process that is true to generative art making. Covehithe is my most evolved work to-date in terms of combining multiple texture algorithms in an attempt to create surfaces that look like they have been abraded and discolored by the churning of the sea. Another key goal of this work is to capture the sense of nostalgia, mystery and ambiance I associate with Covehithe. This expressly emotive concern I feel has not been explored so much within generative art. Many of my ancestors stretching back at least five generations were seafarers from this small area of coastal Suffolk. Having spent countless hours walking along this coast, the dark tumultuous sea, the inclement weather, the primordial spectacle of rapidly eroding cliffs and shifting shingle banks, are deeply imprinted into my artistic vision. Spending time at Covehithe often fills me with a complex tapestry of emotions that somehow meld with the spirit of the land. I feel good art has the power to convey a paradox of thought and feeling. My hope with this series is to simultaneously make art that looks familiar and at the same time fresh and with a very specific blend of belonging and awe; melancholy and rejuvenation; comfort and exposure. ] # . # **Algorithmic distress vs skeuomorphism** *The greatest art is the most convincing lie*— Pablo Picasso [ Creating surfaces that look worn and discolored might be seen as skeuomorphic, however I feel there is an honesty to this type of treatment because objects in real life are also typically aged in an algorithmic way. Usually through a repetition of partially constrained movements and patterns of specific interactions. The intrinsic visual properties we find comforting and fascinating in antique surfaces can be created in generative art in a very direct and authentic way. When I remove these layers of textural distress the underlying work is often somewhat unapproachable and cold. I feel the compositional flow is also softened and unified by the addition of algorithmic distress. Transitions are easier to visually digest and the overall visual variety and interest of the surface is increased. Perhaps what’s more important is there is a sense in which the art has settled into the physical world and has had interactions with it. Of course this is a lie but every story we tell in art is a lie. When creating the distress marks I am careful to leave the simple circle and line primitive building blocks at a scale that makes it easy to see on close examination how the art is constructed. This reveals the truth about the lie and creates visual tension between the illusionistic and abstracted mark making. Painters have intentionally played with the tension between the ‘image’ and the reality of the marks and surface for centuries. ] # . # **An ancestral connection to land** [ I’m fascinated by the idea of art capturing the ancestral memory of a place and transferring a deep sense of belonging and familiarity to an audience that may not have a direct experience of that land themselves. I personally feel this with some art and music that comes from Scandinavian countries. Somehow it feels like I know the atmosphere of that place and it resonates with my own nostalgia for my home in the UK, although I’ve never been to any Nordic countries. The key concern for me with this project is capturing the melancholy and sober mood I associate with this place. It’s not that the sun never shines in Covehithe although it can seem like it sometimes. For me I’ve always been drawn to pathos and melancholy in art and music. Somehow I feel more able to access sadness through art in a way that feels whole and healing. Whilst trying to articulate the ‘mood’ of this series I came up with the working title ‘hidden box landscapes’. The mental picture I have is of discovering an antique wooden box in an attic containing some precious personal effects from an ancestor. I wanted the outputs to have the feeling of old crinkled photos or drawings of landscapes that had been stored in such a secret box as a personal memento of a special place. Like an artifact of a deep emotional connection to the land and environmental characteristics. ] # . # **Forms and colors in Covehithe** [ In the outputs I wanted to include a non-literal equivalent to footprints in the landscape. A trace of our passing through the landscape. I wanted this trace to look and feel light and delicate compared to the main mass of the landscape form. I settled on these sketched chains of arcs that look like they could be unfinished or temporary, but activate the negative space at the boundaries of the compositions. I didn’t want these marks to be on the landscape itself as the contrast of these two primitives would be lost. I loved how insignificant these marks look compared to the weight of the land. In abstracting them from the landscape I also wanted to give the impression these footsteps told a story about a journey or path in a vast space. There is an intentional visual reference to quilting in these landscapes. The land itself is quilted. For me there is something very comforting and connected to a sense of home evoked by the image of a quilt. Strangely I feel I have inherited this just in the last 10 years since I’ve been living in the US. Quilting is a strong part of my wife’s family tradition and I wonder if I have absorbed an affinity for it through osmosis from my wife and her family. Quilting to my knowledge is not a significant tradition in native Suffolk. It strikes me that the cultural lexicon of motifs and visual references in art are key to making contact with our emotional core as humans. Art is never made or experienced in a vacuum, finding ways to weave persisting visual motifs, from our collective past, into my art making is one way I try to make my generative art more approachable and relatable. Doing this in a way that is not overtly literal — deriving forms and mark making that is familiar and yet not literal is a fascinating challenge for me. Using generative color algorithms has become a default part of my generative practice. Although I use a very limited color space, I’m very happy with the color expression in this project. The primary forms are not partially transparent unlike in the background elements in both Velum and Fontana. Instead I build layers of color using the grid markings and spindrift spots that overlay the quilt patches. Combined with the algorithmic distress and patches of color modulation the totality of color is continuously shifting. Ultimately I feel color, texture and form are one and abstracting one from the others can give us a false idea of how the whole will work. ] # . # **Generative art as a medium to explore emotion** *My work is about the great human emotions* — Mark Rothko [ My personal goal as an artist is to find ways to explore the deep human emotions. On the face of it exploring emotion using code, math and geometry may seem counterintuitive at best if not plain impossible. In my mind it is the unobvious path that makes it have so much potential to produce something truly original. In another sense it doesn’t seem to me to be perverse at all. Having worked in this way for over a decade it actually feels just as direct as painting and drawing to me. Picture making regardless of the medium always requires problem solving, methodical application, a clear mind and full heart. The true superpower of the visual artist is to be able to look with a completely open heart and make a response to what is being revealed right in front of them. If the response is channeled through a paint brush or code function I see no fundamental difference. For me generative art is just a medium that can be worked with in the same direct way any medium can be explored. I ultimately feel a medium is just a means for the artist to explore and realize their own inner world. There is a text in Tibetan Buddhism called ‘The genuine heart of sadness’. The sadness the text points to is born out of a deep unconditional compassion for all life, and is not a personal sadness of feeling sorry for oneself. I believe one of the great gifts of art and music is that it can help us access emotions that are much vaster than those born out of our own narrow self interest. Not that there’s anything wrong with this, the arts just can help us find a bigger space in our own emotional landscape. This is the ultimate hope with any art I make. With Covehithe, the emotion I wanted to characterize was a sorrow and longing that for me feels deeply rooted in the landscape of coastal Suffolk and maybe my ancestry. Perhaps hard for me to put into words which is why I make art. ]
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