Materialistic is a generative series of 92 works exploring surface, texture, and the boundaries of digital materiality. The project draws a parallel between Cubism and early computer graphics, as both use simplified forms and structured systems to reinterpret reality.
Deconstruction and reconstruction are at the core of this project. Each composition begins with precise construction lines and multiple viewpoints, then is reassembled algorithmically into geometric structures and fragmented planes. The interplay of movement, surface, and texture is directly created through the code.
This contract represents the 12 artist curated edition mints from the release. The associated physicals can be claimed via The Disruptive Gallery.
Materialistic is a generative series of 92 works exploring surface, texture, and the boundaries of digital materiality. The project draws a parallel between Cubism and early computer graphics, as both use simplified forms and structured systems to reinterpret reality.
Deconstruction and reconstruction are at the core of this project. Each composition begins with precise construction lines and multiple viewpoints, then is reassembled algorithmically into geometric structures and fragmented planes. The interplay of movement, surface, and texture is directly created through the code.
This contract represents the 80 long-form digital edition mints from the release.
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**Trichro-matic** meditates on perception.
As you explore the piece, your perception of the structure shifts. Elements change their relationships - what is out turns in; what is flat deepens. What stood adjacent now occludes.
The piece uses rhythmic color and form, displacement, and juxtaposition to create structures that invite interpretation and exploration. Some outputs challenge our depth perception conventions, while others manipulate explicit structural cues and emphasize intentional imperfections.
From this concept, the piece gets its name - Trichro-matic - denoting the ability to perceive using all three primary colors. The hyphenated "o-matic" denotes fictional machinery, hinting at the generative system supporting the piece. Both hand-selected and algorithmically-generated color palettes feature, with the latter aiming to elicit emotions akin to the former.
When you explore an output from different starting points, you understand the elements' relationships differently. In these changing interpretations, no answer is definitive. Each perspective, whether your first, your last, or someone else's, is valid.
Prints will be available for Trichro-matic owners. For more details, visit [this link](https://www.mountvitruvius.art).
Note: Renders might take longer on lower-end or mobile devices. This piece is my most technically complex release to date, relying on a custom GPU render process which can demand significant resources, even if outputs appear simple.
Finally, I dedicate this piece to my father, who suffered vision loss from a stroke in September 2023.
Renders Game is a note to myself on creativity.
I will often believe strongly in an idea, yet, once realised, and I'm confronted with the reality of the output, it leaves me unsatisfied.
So I take it apart, find a detail that I love, and grow something new from that tiny piece. It's a constant process of discovery. Eventually, I'll find a result that feels right — but only once it's staring back at me.
The name of this piece is a tongue-in-cheek nod to Orson Scott Card’s 1985 science fiction novel, *Ender’s Game*, as well as to the countless outputs I’ve produced during this creative process. In the book, Ender trains relentlessly. Only once he's completed his final exam (what he believes to be another simulation) does he discover that it was actually real — the final battle to save humanity.
In my own creative process, most of the steps along the path likewise feel like practise, with the satisfaction of achievement only revealing itself after the work stares back at me, complete.
This has been one of my longest running creative processes to date, having been re-written and re-conceived many times over.
It's worthy of the name.
## About
This piece treads a balance between the abstract and the literal.
The generative structure draws inspiration from cubism - procedurally generated curves of various complexity are grown, layered, intersected, and then broken into fragments of constantly shifting scale.
Painting each fragment in turn reveals an abstraction of the original curves and lines, viewed through the algorithm's interpretation.
Each fragment is illustrated using prominent, simple lines - a nod to the literal. These are rendered using ink-like outlines and bold, loose colour application. It draws inspiration from contemporary ink illustration, balanced against the natural precision of digital tools. Not completely organic, yet not completely digital.
## Keys:
Number keys 1-4 - Debug views
Number key 5 - Re-render from seed
s - Download rendered image
**Please Note: The Dutch Auction will end with 13 tokens still remaining.**
These are reserved for a collectors allow list that will remain open for 24 hours after the DA is complete.
Renders Game is a note to myself on creativity.
I will often believe strongly in an idea, yet, once realised, and I'm confronted with the reality of the output, it leaves me unsatisfied.
So I take it apart, find a detail that I love, and grow something new from that tiny piece. It's a constant process of discovery. Eventually, I'll find a result that feels right — but only once it's staring back at me.
The name of this piece is a tongue-in-cheek nod to Orson Scott Card’s 1985 science fiction novel, *Ender’s Game*, as well as to the countless outputs I’ve produced during this creative process. In the book, Ender trains relentlessly. Only once he's completed his final exam (what he believes to be another simulation) does he discover that it was actually real — the final battle to save humanity.
In my own creative process, most of the steps along the path likewise feel like practise, with the satisfaction of achievement only revealing itself after the work stares back at me, complete.
This has been one of my longest running creative processes to date, having been re-written and re-conceived many times over.
It's worthy of the name.
## About
This piece treads a balance between the abstract and the literal.
The generative structure draws inspiration from cubism - procedurally generated curves of various complexity are grown, layered, intersected, and then broken into fragments of constantly shifting scale.
Painting each fragment in turn reveals an abstraction of the original curves and lines, viewed through the algorithm's interpretation.
Each fragment is illustrated using prominent, simple lines - a nod to the literal. These are rendered using ink-like outlines and bold, loose colour application. It draws inspiration from contemporary ink illustration, balanced against the natural precision of digital tools. Not completely organic, yet not completely digital.
## Keys:
Number keys 1-4 - Debug views
Number key 5 - Re-render from seed
s - Download rendered image
Renders Game is a note to myself on creativity.
I will often believe strongly in an idea, yet, once realised, and I'm confronted with the reality of the output, it leaves me unsatisfied.
So I take it apart, find a detail that I love, and grow something new from that tiny piece. It's a constant process of discovery. Eventually, I'll find a result that feels right — but only once it's staring back at me.
The name of this piece is a tongue-in-cheek nod to Orson Scott Card’s 1985 science fiction novel, *Ender’s Game*, as well as to the countless outputs I’ve produced during this creative process. In the book, Ender trains relentlessly. Only once he's completed his final exam (what he believes to be another simulation) does he discover that it was actually real — the final battle to save humanity.
In my own creative process, most of the steps along the path likewise feel like practise, with the satisfaction of achievement only revealing itself after the work stares back at me, complete.
This has been one of my longest running creative processes to date, having been re-written and re-conceived many times over.
It's worthy of the name.
## About
This piece treads a balance between the abstract and the literal.
The generative structure draws inspiration from cubism - procedurally generated curves of various complexity are grown, layered, intersected, and then broken into fragments of constantly shifting scale.
Painting each fragment in turn reveals an abstraction of the original curves and lines, viewed through the algorithm's interpretation.
Each fragment is illustrated using prominent, simple lines - a nod to the literal. These are rendered using ink-like outlines and bold, loose colour application. It draws inspiration from contemporary ink illustration, balanced against the natural precision of digital tools. Not completely organic, yet not completely digital.
## Keys:
Number keys 1-4 - Debug views
Number key 5 - Re-render from seed
s - Download rendered image