MyArtSpace.com are running a competition which seems half way decent, although they are charging which makes anyone entering, myself included, seem a little gullible and desperate. I did a little research on the jurors and they have a few credentials between them. They include:-
Jessica Morgan, Curator, Contemporary Art, The Tate Modern, London
James Rondeau, Frances and Thomas Dittmer Curator of Contemporary Art, The Art Institute of Chicago
Steven Zevitas, Publisher and Editor of New American Paintings
I figure, assuming they get to see all the entries and they are not picked over first by the MyArtSpace secutery, that at Â£12 ($25), an entry would be a cheap advert to a very targeted bunch of curators. Its also possible that those jurors spend as much time on the net as the rest of us plebs, and some of that good digital aesthetic that gives form to the prettier places on the net has started to seep into their institutionalised visual vocabularies (and started to liberate them…LOL). If by a miracle my work is recognised as being real art by the jurors and they visit my site and read this, then I’ve probably just shot myself in the bollocks.
Still, I have to enjoy being ‘underground’ whilst I can, before I too become institutionalized.
I’m becoming more convinced that, within the geometry/art canon I have begun with Root2Art, I can find the next generation of artistic form and content, from dipping further into pure mathematics. Analysis to be more precise. The image above reveals nothing about any original idea in mathematics, or indeed unoriginal idea. I’m gambling, however that if I genuinely commit to learning the tools, theorems and history of a particular area of mathematical investigation I’ve been interested in for many years, that I can come up with some fruit. The nature of this fruit might be original art, or maybe even an original idea in mathematics, but maybe it could be something worthy of the name ‘Hypothesis Art’.
Is it possible to create a purely visual statement about a purely mathematical idea, or is this really stretching language too thinly? A visual statement one with real meaning that is, not just some crap conceptual piece that is supposedly about something no one would ever guess at unless told. But something that has a real intelligent and efficient communicative purpose about it, that could explain in a elegant and efficient way an abstract hypothesis about a function for instance. I’m a firm believer that new artistic language grows out of attempts to solve real visual communication problems. My artistic career so far seems to be one long search for more challenging visual problems to work on. I may not solve them, but the act of trying always brings about new and unexpected visual fruit.
What excites me about this square animation theme is the simplicity of the constituent elements. The exploding and imploding grids are based on simple arithmetic progression and all the rest of the effects are created by contrasting inverted radial fills. From a few simple ingredients there many possible permutations, of which this animation represents only a fraction.
To celebrate the fantastic new Â£400,000 London 2012 Olympics Logo I thought I’d knock one off of my own – Root2Art Style. I’ve kept it monochrome but i feel its strong enough to take on pretty much any color that is called for. lets face it, color is very personal and location specific. it would be fun if other designers took on the challenge of designing a variation of the Olympics Logo and stick them up on their blogs for people to use as an alternative to the official ‘icon’ . I’m not convinced by the epilepsy story, but even if it were true I would be in no position to criticize. Anyone looking through my animations I’m sure might feel like having a fit even if they are not epileptic.
I should Just add that anyone wanting to use my unofficial London 2012 Olympics Logo can use it, unconditionally for free. It only took five minutes to design and I’d feel guilty for charging for a bit of fun.
The Titan… Cheesy name or what? The Titan was a name given to the most expensive in a range of coffins in the brilliant “six Feet Under”. it was shiny metallic black with what looked like stainless steel fixings. i read this as a ironic comment on the attempted materialising of the ultimate proof of the futility of materialistic living. buying this big obscenely expensive, over-specified war chest of a coffin is like a last ditch effort to cramp in some more material support for the sole as it returns to the immaterial void.
I don’t thing my frame really creates this same statement and its not supposed to. its just a picture frame. the name just sprung to mind and as far as picture frames go it is a titan. If i extend my range of frames to sell without my work in them I’d like to make a rubber and stainless version. something for the Sadomasochistic scene. it would be awesome for those treasured erotic S & M photos, wouldn’t it?.. LOL… maybe it needs a few studs.
i don’t have any erotic art of my own to put in this image, but my wife says just about all my compositions contain phallic and vaginal imagery. most of the time she talks shit, but one this instance she may have a point although its not intentional. Its my feeling that if you play with symmetry and visual dynamics you will inevitably end up making things that look like flowers and genitals. nature has found all the best solutions for attracting and focusing our attentions via the visual sense.
this variation on my original node frame should provide a more robust seal around the print and also have the capacity to take thicker print mounts, even stretched canvases.
i’m thinking about building a new shop on a different domain to sell my work in these frames. this site is really the complete online manifestation of my output and has a strong ‘digital arts’ theme. people are not buying digital art like they buy paintings. partly because of the immature nature of a lot of digital art on the net. saying this however, i do feel that the best of the digital art out there is the most pioneering, intelligent and exciting art being made today in any medium. of course i would say this:)
so digital art is, more often than not, immature as an art form – what do i mean by this? the digital art market is immature with few if any tested models for serious artists exploring the medium to sell their work through. digital art is rarely seen in the serious commercial galleries and art fairs. there exists no established place where art buyers go to look for real investment in serious digital artists. art.com doesn’t count LOL
by definition there cannot be an established outlet of this nature being as digital art is not yet established itself within the wider art world.
there is also the question of mature subject matter and themes for digital art. a lot of digital art is woefully puerile in it subject matter. you now the sort of thing: fantasy art, erotic art and the crude post processing of bad digital photography. this 21st Century digital folk art is really just the product of the first generation of net users who were predominantly techies and had to be techies in order to manipulate the software. it isn’t that techies are any less creative than your average painting artist. there is a lot of techy art on the net that has just as much compositional invention and strength as the sort of painted art people are paying big bugs for in Cork Street. Its just that artist working within conventional mediums have an almost infinitely rich pool of artistic language and subject matter to draw upon that has evolved over many centuries. modern painters may not like to concede that they are repeating anything that has been done in the last century, but the languages and themes of modern painting are now so thoroughly ingrained in our culture that a painter can use them like an english poetry uses the english language. a poetry does not have to reinvent his core language to make his statement. he couldn’t better the fundamentals of the language if he tried. we can modify the superficial character of the language, but 99% of the vocabulary and grammar is universally understood and can not be improved upon by one individual. the vocabulary and grammar of painting is also effortless used by painters and there is little radical innovation at this level left to be explored. digital art however is only just beginning to find its own inherent grammatical structures that will evolve out of the peculiarities of different digital tools. many of the themes seen in the ‘digital folk art’ i have described have been borrowed from the techies sci-fi stimulated childhood imaginations. these are not the themes that will become intrinsic to digital forms as time goes on however. i predict that in the 22nd Century that a mediocre digital artist, like the mediocre painter today, will be able to make art that draws on a rich history of art language and subject matter and make digital imagery that looks to all eyes like ‘sophisticated’ mature art. the craft of digital art making will be universally appreciated and artist will find new ways to make digital art unique works. print technology will evolve and new accepted art objects will become convention. the digital print, in whatever form it takes, will become as ubiquitous and converted as the painted canvas is today. only however, hopefully, it won’t crack, fade or peel like the painted canvas does today after just a few decades.
i’ve just bought some Venetian Snares tracks and i completely swept away by his intricately menacing compositions. it kinda reminds me of my teenage years listening to metal and creating dark screaming, angst ridden imagery. all cultures have dark expressions in their art. even in pacifist Buddhist cultures we can find hideous scenes of demons mutilating hell beings. i’d almost forgotten about love of the dark side:)
i’ve been trying to visually crystallize some ideas i’ve been pondering about number theory on and off for many years. i’m not a mathematician and am not trying to create a rigorous mathematical conjecture. all i’m really after is some subject material for creating new art.
needs more ordering and purpose, but i’m quite excited by this simple animation of 100 squares. its not intended to be a complete work in itself, but an ingredient is something all together more ambitious.