September 1-30, 2018 Show
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.
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.
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.
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.”