Natural order infuses several levels of
both worlds: some determined by man and some determined by nature.
It guides our understanding of big data sets related to network
analysis, whether we employ physical analogies of the data, render
the data graphically and explore them ‘by eye’ or interact
in real time. Acutely aware of order, I examine what technological
and human worlds have in common. Natural order, revealed randomly
and regularly, infuses several levels of both worlds. My task is
to juxtapose the regularity of nature with man's constructions,
both physical and intellectual. The big city images, for example,
combine how humans affect their environment, and at the same time,
how a city metaphor reflects rhythm and organization of big data
sets, and makes data mining easier. Observers — whether artists
or technology experts — perceive such relationships from
different perspectives and points of view.
I aim to develop messages using sets of images
that become symbols, in a way similar to the sets of words
constructing sentences. Same images gain different meaning
in various contexts.
My computer graphics explorations serve
as a point of departure for a series of prints or sculptures. I
explore the dynamic factor of line. I transform an image of an
animal into a simple image, an iconic object such as rocking horse
or a symbolic picture of a bird, to present them in dynamic movement
as the visible texture of the sky and the ground. In our visual
planes of multiple horizons, every time we see the familiar image
on the floor of ground and the wall of sky, soft and hard inhabitants
sharing lots and acres; we see them as having common goals, and
Some of these explorations have resulted
in figurative three-dimensional designs based on an image of transformed
manikin that served as a point of departure for a prints and sculptures.
The repetition of human figures, depersonalized for the purpose
of fulfilling the goal, has been put into the ordered, endless
landscape. I have unified the meaning of human and a landscape
using the same approach: rigid order created with a computer.
in nature and events in technology inspire my images. Such processes
also support my instruction in computer art and graphics, where
students learn to create artwork inspired by science and demonstrate
what they understand of scientific concepts.
Typically, my creation process runs through
several stages. First I draw abstract geometric designs for executing
my computer programs. I use the computer on different levels.
Some of my computer programs produce two dimensional images; others
are three — depending on my composition's final dictates.
Then I add photographic content using scanners and digital cameras.
The programs that produce two-dimensional artwork serve as a point
of departure for photolithographs and photo silkscreened prints
on canvas and paper. They are included both into my two-dimensional
and three-dimensional works. All of these approaches are
combined for image creation with the use of painterly markings.
three-dimensional works, computer programs make representations
of masses in a vector mode that shape my wooden and mixed media
sculptures. Later, the 3D wireframe designs guide construction
of wooden and mixed media sculptures. I often incorporate the factor
of time into the sculpture, giving the viewer the illusion of movement.
I also develop time-based media.
Generative art results in precise images with perfect lines that follow premeditated transformations. I started working with computers by programming, with a distant dumb terminal connected to the station via modem and a phone. I waited two hours for b&w prints and three days for color slides. I remember loosing generations when working with film as an analog medium.
I could include color, shade, patterns, apply clipping algorithms, rotate and paste content into other images, zoom and transform. Then, photosilkscreen and photolithograph gave me a new level of color combinations, and the messiness of paint. Movies involved the fourth dimension. Through the use of software I can recycle drawings along with generative shapes and patterns.
I transform algorithmic images into physical constructions. Free of details images became synthetic expression of the figure. I also created sculptural forms in 3-D programs and used prototyping. In order to address the factor of time and add some explanatory power and dynamic storytelling, I present images along with related movies.
We can only change the distance when we look at the two-dimensional work, yet we can walk around the sculpture and explore the interactive character of time-based art. By adding action inside the surface of the image, I hope to attain another level of possible connotations and interpretations. The next stage – combining it all together and adding painterly marking – became fully digital.
In my works, natural order infuses several levels of both worlds: some determined by man and some determined by nature. It guides our understanding of big data sets related to network analysis, whether we employ physical analogies of the data, render the data graphically, or interact in real time. Acutely aware of natural order that infuses both worlds, I examine what technological and human worlds have in common. My task is to juxtapose the regularity of nature with man's constructions, both physical and intellectual.
The digital factor of all these media creates even more opportunities for the contemporary digital art. For movies, web, and animations, 3-D forms need to be flattened and presented as 2-D frames or pages, thus analog becomes digital.