this week, i worked on some concepts built around stretching the full range of pixels in the sort, which is something i always avoid. i felt like it was worth exploring, but it isn't something i intend to add to my general style.
wednesday july 18th
saturday july 21st
wednesday of this week was spent working through a couple ideas with incorporating lines that were neither horizontal or vertical into the canvas. saturday, i wanted to document the process of a pixelsorted image from start to finish. to make the start easier to understand, and to have more reference points from which to grasp the movement of the manipulation, i used a photo i took as the starting point. i sorted vertically, then horizontally, then continued that until i liked where it was going, then shifted colors slightly and used databending to raise the portion of the image that i liked the composition of best, then continued sorting until i felt the canvas had resolved itself.
wednesday july 11th
movements i & ii
saturday july 14th
process of 'cubic'
on wednesday, i explored some p-frame duplication techniques in tandem with i-frame deletion to modify a video i took. on saturday, i installed a commissioned "datamoshed" painting i made for someone.
wednesday july 4th
saturday july 7th
painting of a seagull on a beach [large scale digital style painting]
this week i focused on quantity over quality, so that i could get as many ideas out and see where it went, and which ones i liked.
this week i worked on 2 similar projects to my last two weeks. on wednesday, i painted another datamoshed image with oil paints. on saturday, with the launch of IGTV, i released a new version of mlcl: progressive built for the portrait mode of the platform. follow me.
saturday june 23rd
wednesday june 20th
kt [oil painting imitating digital art]
the focus this week was on taking the digital art into the physical, and bridging the gap between the intangibility of my work with traditional fine art.
on wednesday, i made a print of a piece of mine on matte velvet fine art paper. it was nice to be able to hold my digital work in my hand. my pieces have sold prints before on saatchiart.com, but i never thought to get one myself. i chose to print on matte velvet fine art paper because of its texturing; i didn't want it to feel like a print of a digital work. i wanted it to feel like a printed piece. i signed and dated it.
on saturday, i worked to imitate and recreate one of my digital pieces with oil paint. i was advised by jean-luc richard that if i wanted to get galleries to pay more attention, i needed to recreate my style with oil painting, though he told me to be as close to the digital work as possible. i ended up letting the medium show through and allowed some larger brushstrokes to stay visible, while giving some areas very fine detail.
saturday june 16th
telegram [oil painting imitating digital art]
wednesday june 13th
form for virgil [velvet fine art print]
this week, i was inspired by everything is a remix, and tried to use stolen media to create art. on wednesday, i went to the met and took close up photos of a jackson pollack painting and used my pixelsorting technique on them, going from horizontal to vertical processing until i felt the canvas had resolved itself. i'll elaborate on that process at some point later in the class. this became the series below, entitled 'east hamptons'. on saturday, i downloaded melancholia and flcl, the first being a dark lars von trier film about death and depression, and the second being a bubbly, insane, nonsensical anime about puberty. quick aside; i don't explain my meanings/intentions behind art because i want anyone who sees it to draw their own conclusions and find their own meaning, and i don't want to invalidate anything anyone takes away from what i do, but i never mind talking about the process. i took the intro from melancholia, an 8 minute slow motion sequence, and sped it up 8 times so it would be closer to normal speed. i then exported that piece of video and converted it to a raw avi file, which i then ran through a datamoshing sequence using terminal that would remove p-frames from the compression data, thus not resetting the background during every shot change so that only motion would disturb the pixel arrangement (that code can be found here). i watched this back and thought it was missing something and had no meaning to it, so i added the sequence from flcl in the middle, doing the same process to that clip and then extending the audio to the end of the full sequence.
saturday june 9th
wednesday june 6
east hamptons i-iv
my idea for a constant output plan is to create a piece of digitally manipulated art (datamoshing, databending, pixelsorting) twice a week on wednesdays and saturdays for the whole semester.
to the left are some examples of art I've made with data manipulation. i want to stretch the concept further over the semester and develop new techniques to digitally damage and create works.