When Stars Collide: new work by James Pricer

The opening salon 2-7pm Sunday October 6, 2019

Exhibition dates: Oct 6 – Oct 27

 

20 million years ago two supernovae collided causing ripples in space-time.

20 million years later, generative artist James Pricer created cataclysmic portraits of this event using the actual gravitational wave data. These are the waves that proved Einstein was right after all.

The exhibition features a box set of eight gravitational wave prints, a collision video, two unique explosion prints, and several generative objects. The artist will be at the opening.

Emerging art movements are rare. Art fans lucky enough to witness their development are given direct access to groundbreaking work and influential creators. We look forward to meeting you and sharing the dynamic experience this imagery evokes.

 

 

 

 

Generative Art Project presents E9 – Landscape in the Digital Space

May-June, 2019

 

Generative Artist E9 is experimenting both visually and conceptually with the idea of landscape in the digital space. Technology has provided generative artists with smart tools and a digital platform with incredible potential. “Digital space” is the term used to describe that creative environment. The exhibit will feature a dozen unique digital paintings of various sizes and five limited-edition videos that span four years of work.

Landscapes are traditionally loaded with emotional attachments related to security, identity, adventure, divinity, history, myth, and so on. E9 fills his worlds with imagery that invites viewers to script their own genesis narratives. And though his digital paintings border on the abstract, viewers respond to his alien worlds with the same concerns they voice for Earth.

His landscapes also touch on current interests as varied as designated borders, the discovery of inhabited planets, and the creation of space colonies. Impermanence is another theme that shows up in his recognizable worlds, they are all mutable, tearing themselves apart, being born, being attacked, being planted, or transforming. You are often not sure if what you are seeing is a place, a thing, or a being.

E9’s style is sensual and polished often using dense baroque detailing that encourages close-up inspection. In addition to his more recognizable forms, E9 is also experimenting with a form of generative mark making that layers densely textured surfaces. These pieces toy with our perception being both suggestive and abstract. In a video title Calma, he slices up a mountain and feeds it back to us as a rotating fan sweeping across the picture plane; creating a kind of digital-cubism.

Paintings as aesthetically daring as these are often conversation starters. E9’s alien landscapes speak to our future adventures both worldly and otherworldly.

 

 

 

 

Representational Abstraction

March-April, 2019

 

Our latest exhibition features three artists who transform physics, data, and algorithms via software into abstract generative videos and unique prints. Creating a synthesis of the antithesis the art visually merges the antithetical concepts of realism and abstraction without diluting the integrity of either. Opposites come together to create a unified image that reflects true reality while also allowing for abstract interpretation.

Viktor Velikanov’s unique graphic prints done in black, white, and red push the rules of physics to their limits. Blending the principles of good design into his art Velikanov’s “Compositions” are perilous structures that derive their tension from the act of balancing order and chaos.

James Pricer’s work is data driven. His complex abstractions compel viewers to search the art for clues about the underlying data. The mental exercise of searching for recognizable patterns in abstraction offers viewers lasting value as they move on to consider the hidden data that underlies the world around us.

David Bennett abstracts are created using pattern-generating algorithms. Our brains recognize the reality expressed by the soft, smooth stream of motion in his videos, and as we watch the colorful flow we are hypnotized by the pleasurable sensation of rhythm and pattern. Even the unique print stills, pulled from his videos, cause a relaxing yet exuberant response.

The synthesis of the antithesis is a timely concept and these generative artists have taken up the task of interpreting, questioning, and exploring the coalescence of reality and abstraction.

 

 

 

Patterns in Meditation

David Bennett

February 2019

 

David Bennett’s new exhibition, Patterns of Meditation, features ambient videos and unique prints that use pattern to explore our species hard-wired attraction to rhythm. There are two series, the first is a minimalist vision of tumbling black and white geometry, and the second features painterly streams of colorful organic shapes. 

Working with the element of time, generative video draws the viewer into a moving narrative that stimulates a mind & body response. As you follow the action with your eyes, your brain imagines, and even feels the abstract motion. For many viewers, watching the soothing steady flow leads to a quieting of their internal chatter and allows them to enter a calm, or meditative state. 

Further, because generative video is looped it becomes a constant part of one’s environment. You don’t simply watch it and turn it off, you live with it like you would a still painting. Yet unlike a still work, Bennett’s slow-moving alien sentience catches your wayward attention or passing glances like a clever friend sitting in wait; always ready with a novel response to your ever-changing moods. 

Driven by sophisticated technology, Bennett’s simple patterns reveal their mind-altering power and conversely our instinct/desire to feel at one with the rhythms of life – be they real or generated. 

 

 

 

Dimension N  / Alba G Corral [ES] & Makaruk [PL] / Centre des Arts Enghien les Bains, France (2016)

Thoughts in Action

Alba Corral

November 30 – December 30, 2018

 

Generative Art Project is proud to present two new videos, a video slideshow, and five related prints by Alba Corral of Barcelona, Spain.

Corral’s sensual lines dance across the screen generating her abstract visions with such eases one imagines each move has been meticulously choreographed. Yet many of her videos, such as Hoth, are spontaneously created while the artist is performing live on stage responding to musicians. This visual control is a testament to her creative talent, coding skills, and technical knowledge of the rapidly evolving generative art movement.

Her videos literally mesmerize viewers as a few simple lines multiplying into intricate forms that entwine to create still larger structures. You will find yourself trying to anticipate her next move as the artist builds the pictorial entities while also keeping track of the rhythmic drama and narrative pace of her gestures. The colors bleed, while patterns multiply and lines twist and fold like living organisms, stretching out their growing limbs to form visual so rich with meaning a cascade of associations come to mind.

Corral’s videos and prints highlight the vastness of the decision-making process that goes into the construction of art that is generated by code. The notion that digital imagery is easy to make or merely a gimmick driven by software is wrong. The truth is generative artists, like those working in other media, must invent everything you see. The difference is their marks move through time, which adds to the complexity of their process. Corral’s style elegantly demonstrates her creativity in action.

The scope and power of the human mind is a masterpiece of nature and Corral’s focused studies of line, form, color, shading, pacing, and pattern are treasured examples of our ability to apply imagination to the task of inspiration. To watch a generative video by a master like Alba Corral is to have a front-row seat on human thought as it describes and transcends reality and guides us to a new understanding of the human potential that is unleashed through our collaboration with technology.

 

 

 

Data Selfies ©

Looking Inward – Gazing Outward:

James Pricer

November 2 – 28, 2018

 

Generative Art Project is proud to present two new videos and six related prints by James Pricer. From data scientist to data artist, his animated abstractions of human and astronomical data allow us to travel from a single cell to the edge of the universe searching for the inclusive patterns that map out our existence. The work comes to life so to speak because the generative artist works with visuals, time, narrative, audio, rhythm, and light…while a fixed image, by comparison, is static, it’s observed.

“James’ artistry is truly digital, beginning with the art of interpreting data and culminating in the art of generating not only an aesthetic but a digital tale in the form of what is arguably digital poetry.” – Paul Goldin – Head of AI and Blockchain at Prosper, formerly CSO / Curator at Klio Art.

Bio: Along with graduate degrees in psychology and business, generative artist James Pricer has been awarded multiple patents in pattern recognition methods and software. Having lived in San Francisco and New York City he currently lives in Austin, TX.

 

 

October 5-28, 2018 Show

denial.of.service

 

Our first denial.of.service solo exhibition will feature six generative videos and twenty-one digital prints.

 

The sophisticated use of technology, loaded imagery, layered inquiry, and rhythmic compositions are a hallmark of the d.o.s style. Using math, myth, code, software, human psychology, and alien aesthetics the videos slice through cultural barriers and trigger the amygdala releasing a cascade of memories and emotions.

 

Though the delivery is direct, nothing about the work is obvious or easy. It takes weeks, sometimes months, to construct the musical, scientific, political, and cultural references that drive the overarching concepts. The abstract works defy simple explanation and must be experienced over time to fully appreciate.

 

September 1-30, 2018 Show

Synthetic Aesthetic

 

Synthetic Aesthetic refers to the computer-driven generative process that stretches the visionary potential of its human co-creators and viewers alike with its alien sensibilities. Additionally, we’re stretching the boundaries of domestic art by offering videos that play on TVs. With their lively motion, corresponding music, and conceptual purpose, the videos develop a kind of sentience. They activate the surrounding environment and enliven near-by static art creating new interpretations with each encounter. The combination of generative imagery and video offer a new approach to making, viewing, and living with art. By extending their reach these 21st-century generative masters are enhancing human aesthetics with synthetic aesthetics.

 

Sean Capone’s expansive video Sky Report slowly reveals a phantasmagoric world of wonder where sparkling stars become scribbling sketches and primordial ooze blossoms with delicate flowers that dissolve into disco-baroque wallpaper. His uncanny illusions are luscious and disorienting. As Capone says, “the ‘space of the screen’ is no longer just a surface to be viewed, but an environment to be entered and experienced.”

David Bennett’s Sign Grinder features infinite layers melting into a tattered tapestry of faded signs and somber cityscapes. Familiar to all back road warriors the random irony and gritty nostalgia for all that might have been is subtly buried in the rhythmic motion giving the work the meditative presence of an old soul.

 

James Pricer’s Human Connectome II draws on fMRI data from the mapping of brain synapses. His abstracted pictures reveal the sweeping paths of consciousness beginning with a single blip that quickly multiplies, overlaps, and spawns disconnected ideas. The patterns we detect and the meanings we assigned them generate a mental response that syncs with the image.

Simon Russell explores synesthesia in The Long Walk. Merging your sense of sight and sound, he creates an experience of perception that borders on the transcendental. Influenced by the synesthetic theories of the early 20th-century painter Wassily Kandinsky, Russell’s immersive sensations exemplify the ability of generative art to disrupt ordinary reality.

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