Aleksandra

Moiré patterns meet halftone dots meet cross stitching.

Halftone is a term that can refer to both a technology used in image processing and as the synonym for semitone in music. A jazz musician Oliver Nelson released the album The Blues and the Abstract Truth in 1961. It is considered one of the most significant records of its time. In addition, he wrote Patterns for Improvisation, a hugely popular jazz patterns book. The Moiré pattern design is on the book's cover.

Look out for the FOMO keyboard key to unlock more variations. 
Press 'P' to pause/unpause the animation.  

The Abstract Truth III #329

Are we breathing life into simple geometric shapes through generative art practices? 

When I was a postgrad student of Digital arts after studying at the Faculty of Mathematics, I learned from one of my professors that the simplest way to make anything appear alive is by adding eyes and then animating them to blink. Unfortunately, my abstract geometry actors are just shapely arcs of varying thicknesses, continuously floating in a vacuum of theoretical coordinate space. 

The only option left was to make them breathe. The value and significance of breathing became of utmost importance for my characters as much as it is for all living beings. 

It is a seven-part series of never-ending meditative animations with infinite possibilities.

Press SPACE for new variation, press S to save frame.

Breathe 5

Breathe 1

[...so I asked myself why it was that we often find images from science beautiful.]

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CHROMATLAS, Vol. 6 #138

"Herbarium" is part of the fxhash interactive minting experience at The Ever-Evolving World of Art, Art Basel Hong-Kong, 2022

Occasionally, I stumble upon vintage scientific illustrations on various topics, exotically looking charts and graphs, alternative layouts for the periodic tables or psychological research diagrams, elaborate illustrations of botany and zoology, minerals, and natural and sometimes unnatural phenomena. Most of those illustrations are part of the "art and science" practices from the 18th and 19th centuries. At the core of those practices were observation and interpretation, unraveling complexity through visualizing abstract ideas or finding a creative approach for understanding previously incomprehensible forms. 

I'm an admirer of two female pioneers in the field. Maria Sibylla Merian created, with immense dedication, a book with intricate illustrations of plants and insects, later praised by scientists. On the other hand, Anna Atkins published a book with beautiful botanical cyanotypes, considered the first book with photographic images. These topics are the visual inspiration for pieces presented at ArtBasel HK. 

My mathematical background makes me naturally attracted to graphs, converting numbers to curves, and everything schematically displayed. Also, combining scientific symbols and illustrations with imaginary data inspires the spectator to find meaning in unrelated or random things or provokes latent skepticism towards assumed concepts of truth, reality, and knowledge. 

Herbarium #562

"Balancium" is part of the fxhash interactive minting experience at Art Basel, Basel 2022

In the fall of 1931, in Alexander Calder's studio, Marcel Duchamp coined the term 'mobile' for his kinetic sculptures. Later, Calder wrote: "This, in French, means not only 'movable'— but also a 'motive', 'a reason for an act' so I found it a very good word."
 
Around the same year, Bruno Munari started making colorful and whimsical mobiles. He called them "useless machines", existing without any purpose and inviting viewers to just look. Elements are connected with nearly invisible threads or wires, allowing the artist to create the illusion of shapes floating in the air.

Balancium is both a virtual mobile and a useless object. Generated by the code, it undergoes a continual transformation. The movement of the air, or invisible fluid, becomes an integral part of the design and amplifies serenity. 
 
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Balancium #227

[...pie charts are bad and the only thing worse than one pie chart is lots of them]

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CHROMATLAS, Vol. 7 #6

CHROMATLAS, Vol. 6 #124

CHROMATLAS, Vol. 6

Herbarium #888

Herbarium

Balancium #180

Balancium

CHROMATLAS, Vol. 7 #59

CHROMATLAS, Vol. 7

[As for a picture, if it isn't worth a thousand words, the hell with it.]

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CHROMATLAS, Vol. 9 #150

CHROMATLAS, Vol. 9 #77

CHROMATLAS, Vol. 9

[Most likely anything that you think of that is possible isn’t true.]

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CHROMATLAS, Vol. 8 #225

CHROMATLAS, Vol. 8 #127

CHROMATLAS, Vol. 8

[Most of our life experiences, with a few exceptions, do not consist of narratives that are irresistible and captivating at every turn, like in a movie.]

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CHROMATLAS, Vol. 10 #117

CHROMATLAS, Vol. 10 #51

CHROMATLAS, Vol. 10

The Abstract Truth I  #211

The Abstract Truth I  #79

The Abstract Truth I 

The Abstract Truth II  #89

The Abstract Truth II  #168

The Abstract Truth II 

The Abstract Truth III #22

The Abstract Truth III #116

The Abstract Truth III

Released on the occasion of the Tribute to Herbert W. Franke.
100% of the proceeds from primary sales are donated to the Foundation Herbert W. Franke. 
https://www.tribute-hwf.com/

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Undisputably, my mathematical background makes me naturally attracted to graphs, math functions, and transformations. I use math in ways that mathematicians could consider nonsense, but which produce fascinating aesthetic elements for creation (to paraphrase Herbert W. Franke). Combining scientific symbols and illustrations with fictional data produces pseudo-persuasive generative imagery that we can easily take to be absolute truth or in which we find meaningful patterns.
In the special issue of Leonardo, Visual Mathematics from 1992, Herbert W. Franke and Horst S. Helbig published the article Generative Mathematics: Mathematically Described and Calculated Visual Art.

They propose that “Through the use of [mathematical] formulas (software) we gain generative principles. Beyond formal descriptions, we obtain guides for the construction of images. For example, if we use a parametric representation of a curve, the result is similar to traditional methods of drawing and painting […]“ Additionally, mathematics removes frame limits and adds the possibilities for transitions, transformations, movement, and interaction by implementing simple changes to the defining parameters.

I’m also very fond of the analysis and comparison (mentioned there) of digitally generated images and Constructivist design. Limitations of the technology (in the 70s) allowed only simple line drawings, based on fixed proportions same as Constructivists did. “In a short time, all possible features were exhausted, so it became an obvious goal to try to extend them. This was done first by the use of random generators — a highly interesting expansion of design principles […]” Another expansion happened by adding curved shapes, first simple then complex that overcame possibilities of drawing with compasses and rulers. “[…] oscillating curves are easily obtained through mathematical formulas and computer-graphic systems. The results we achieve on this basis do not look like Constructivist presentations, but their rationality and precision derive from Constructivist principles. ”

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Each mint contains both dark and light version, use D/N keys to switch between “day & night”.
 
Base shapes are circles or Lissajous curves modified by the noise function. Shapes are arranged in a grid or by a circle packing algorithm. Lines are drawn smoothly or in stripes. Around 20% of the mints have lines in only one color (black/white). 

Depending on the browser/configuration rendering times will vary. 


GM.GEN.MATH #152

GM.GEN.MATH #106

GM.GEN.MATH

This could be a follow-up to Herbert W. Franke's finding of interesting connections between Constructivism and Generative art, where at first, technological limits allowed only simple line drawings, based on fixed proportions, and later were extended by the use of random generators. Constructivism, as an art movement, sought to depict modern civilization, the symbiotic relationship between technology and art, industrialization, and urban spaces. Iakov Chernikhov (Яков Чернихов), an architect and graphic artist, was one of the influential figures in Constructivism. He extensively used the two-point perspective with an observation point below the ground in his drawings. 

In this (my) exploration of two-point perspective, random, colorful, and glassy constructions visual resemblance to Chernikhov’s oeuvre is inescapable. Therefore the title is a play on the original title of his book Architectural Fantasies: 101 Compositions in Color, 101 Architectural Miniatures from 1933.

The subtle grain effect is done with p5.grain library by Gorilla Sun (@gorillasu) & meezwhite (@meezwhite). 

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Generative Fantasies: 101 Compositions #45

Generative Fantasies: 101 Compositions #81

Generative Fantasies: 101 Compositions

"and my dreams are composed either by my mind or by chance" - Italo Calvino, Invisible Cities, 1972 

~~~~~~~~~~~~~~

Take a simple algorithm, arrange basic geometric units by chance, take half of that composition and mirror it, repeat it again and again until opulence is conveyed. 

~~~~~~~~~~~~~~

The subtle grain effect is done with p5.grain library by @gorillasu & @meezwhite. 

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Conveying Opulence #22

Conveying Opulence #30

Conveying Opulence

The initial spark for this piece started with Armin Hofmann’s exercises in style and composition. Just as George Nelson wrote in the preface to Armin’s book Graphic Design Manual: Principles and Practices: "Despite all our efforts to simplify things - efforts constantly expanding in order to keep abreast of steadily increasing complexity - nothing is very simple anymore", these explorations just opened doors to other issues, and further grounded the idea that "if problems can be correctly stated, they can be solved."

Armin suggests we go back to the beginning, to concern ourselves with dots and circles and lines and then bring opposed components in confrontation. "Confrontation is a theme on which variations can be played with any desired consonances, with any imaginable values, and in a great variety of ways. [...] (Only then) (s)he will be able to find creative solutions to the problems presented by the confrontation of opposites."

Very quickly opposed components, even with extending the angle of vision from the two-dimensional surface to the three-dimensional space, and with the contrasts of thin-thick, solid-transparent, softened-hardened line, etc., started looking like I’m weaving complicated plots, visually similar to textile works by  Bauhaus women - Gunta Stölzl, Anni Albers, Gertrud Preiswerk and others.

When Gropius founded the Bauhaus school in 1919, he proclaimed that “every eligible person whose talent and training are considered adequate will be accepted without regard to age and sex.” However, in practice, discriminatory gender roles were reinforced, and female students were guided and advised to work with textiles rather than in workshops for heavy crafts such as carpentry. Despite that, Gropius’s “women’s section” became one of its most collaborative and brave experimental sectors. 

A hundred years later, it is disappointing to see we still carry on with inherited gender roles. Check the number of female computer science students in your country. How are things going "at the intersection of arts and technology"? I've implemented some of the percentages from Serbia in the distribution of shapes in the final compositions. I sampled the number of female vs. male students at the Faculty of Mathematics and the University of Arts (where I studied and now work), and gender distribution among graduated students, and it didn't look bad at all. But then I realized I'm the only female professor (out of 5) teaching main subjects at doctoral studies program in digital arts.

"When a group is underrepresented, people come to take that underrepresentation as the norm." Since representation is imperative to achieving equality, it is equally critical to change the biases we’ve developed over centuries.

For the title, I chose a dated version of the word for a female weaver on purpose. My native language is one of the Slavic languages, which are all gender sensitive. It is natural to have feminitives, but since historically some occupations were less (or not at all) practiced by women, many of the feminitives for those professions, jobs, and specializations are rarely used or don't exist in the dictionary. Also, not surprisingly, the dominant version of the noun describing a person who weaves in Serbian would be the female noun "tkalja", whereas the male version is so rare that is missing from some dictionaries. Conscientiously choosing the female version of the noun for the title, I position myself and this piece in the historical context with Bauhaus weveresses, contemporary language, and gender contexts, and finally in the curatorial context of the exhibition. 

Code Weaveresses is part of the FEMGEN exhibition curated by Micol Ap @verticalcrypoto in partnership with @RtClick_Save and @artblocks_io.


Code Weaveresses #29

Code Weaveresses #30

Code Weaveresses

[The solidness or volume of the form could be obtained by using highlights on one side of each object and shading on the opposite side.]


(⊃｡•́‿•̀｡)⊃━━━━☆


With only a few colorful lines near the edges and bright accents in the oposite corners, one rounded polygon becomes a shiny and bright voluminous surface. It's easy! 

Look out for the FOMO keyboard key to unlock more variations.




Wishing you easy, light and bubbly 2023! 
(◕‿◕)♡


How to Draw Bubbles (◕‿◕)♡ #64

How to Draw Bubbles (◕‿◕)♡ #372

How to Draw Bubbles (◕‿◕)♡

[As each color pixel falls, it bumps into other pixel and sometimes edge of the row, until it reaches the bottom and hits, with force depending on the distance from which it fell.]

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Colorfalls  #4

Colorfalls  #1

Colorfalls 

[Pigments are accumulated in the leaves, giving them various shades. Some of the most beautiful foliage features color gradients changing as the season progresses. On some occasions, we ran out of toner.]

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Colorleaves #4

Colorleaves #1

Colorleaves

The New Year's Cards generative collection from Vukašin Stančević (lomz) and Aleksandra Jovanić.
Wishing you a new year full of wonderful mints!!!


tw: @lomzart | @alexis_o_O
 

HNY 2022 #4

HNY 2022 #1

HNY 2022

[or even beyond; to the world beyond the infinite seas and across the never-ending mountains; to regions with temples where none has ever been before.]

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Colortales #4

Colortales #1

Colortales

[A sequence of strata, therefore, may appear as alternations of coarse and fine particles, as a series of colour changes resulting from differences in mineral composition, or merely as layers of similar aspect separated by distinct planes of parting.]

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STRATA CHANGES #4

STRATA CHANGES #1

STRATA CHANGES

[Leaf skeletons are elegant and intricate designs created by distilling a leaf down to its very essence. ]

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SKELETON LEAVES #4

SKELETON LEAVES #1

SKELETON LEAVES

[...minimize structural elements so that the piece appears to float, creating a hierarchy between different pieces of the product.]

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MID-CENTURY MODERN #4

MID-CENTURY MODERN #1

MID-CENTURY MODERN

[bending of the path of the waves, is accompanied by a change in speed]

Mouse move/touch to hide the stones.
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Refraction of Stones 003 #4

Refraction of Stones 003 #1

Refraction of Stones 003


[involves a change in direction of waves as they pass through an opening or around a barrier in their path]

Click/touch to start/stop animation.
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Diffraction of Waves 002 #4

Diffraction of Waves 002 #1

Diffraction of Waves 002

[wave will undergo certain behaviors when it encounters the end of the medium]

Click/tap to start/stop animation.
There is a key that unlocks more variations. 

Reflection of Stripes 001 #4

Reflection of Stripes 001 #1

Reflection of Stripes 001

[spontaneous perception of connections and meaningfulness of unrelated phenomena]
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CHROMATLAS, Vol. 2 #4

CHROMATLAS, Vol. 2 #1

CHROMATLAS, Vol. 2

[Reality is almost always wrong.]

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CHROMATLAS, Vol. 1 #4

CHROMATLAS, Vol. 1 #1

CHROMATLAS, Vol. 1

[Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.]

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CHROMATLAS, Vol. 3 #4

CHROMATLAS, Vol. 3 #1

CHROMATLAS, Vol. 3

[...in principle any representation can be presented according to the on/off binary logic of computing]

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CHROMATLAS, Vol. 4 #4

CHROMATLAS, Vol. 4 #1

CHROMATLAS, Vol. 4

[...you've got the right numbers]

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CHROMATLAS, Vol. 5 #140

CHROMATLAS, Vol. 5 #127

CHROMATLAS, Vol. 5

Like physalis wrapping papery cases... 
Click for new setup. 

Animation, variable dimensions, generative, interactive - p5.js, HTML, CSS
Artist: Aleksandra Jovanic / @aleksandrajovanic  — December 2021

PHYSALIS

If you need stars, in general or as an asset for Arc(h) Pavilion object. 

Artist: Aleksandra Jovanic / @aleksandrajovanic  — August 2021

STARS ASSET

Hic et Nunc

Breathe 2

Aleksandra Jovanić is an artist and programmer from Belgrade, Serbia. In her research and artistic practice she combines various media, mainly focusing on interactive art, art games, and generative art. As an assistant professor, she teaches at the New Media department at the Faculty of Fine Arts in Belgrade.

Aleksandra Jovanic

Breathe 4

Alexis Editions on Manifold

I am tracing a peculiar connection between various latent states and billowing bodies; between the figures we see in clouds and pseudo-random configurations we recognize as clouds.  
 


Billows #92

I am tracing a peculiar connection between various latent states and billowing bodies; between the figures we see in clouds and pseudo-random configurations we recognize as clouds.

Recognizing embedded images in the clouds can be explained as a byproduct of our brains processing visual data. In the generative setting of this project, Billows, basic geometric shapes combine to form a vast array of fantastical creations: croissants, radishes, egg white floaters in yellow cream (œufs à la neige, Schneenockerl or šnenokle) if we are famished, or otherwise various billowy beings and cartoonish, stylized clouds. Constantly changing and adapting to whatever the spectator wants them to be, clouds continue to astound not just artists, but everyone willing to simply look up and dream.

This project is part of the Strange Skies group show with Dawn Contemporary on Alba.art

Billows #55

Billows by Aleksandra

_much like the sound of water_ 
_a second before boiling_ 
_so I hear the thriving of our plants_ 
_some words are so tender_ 
_that we keep them in greenhouses_

_should we let them in on it, Mama?_ 

_the language of plants_ 
_has nothing to do with where you’re from_

 --  Radmila Petrović, The Language of Plants (excerpt) * 

 
---
 

It is said that, “inat” is something unique for the people from my country.

I don't mean to glorify “inat” as it is the case (here) too often, but I have to admit it is an odd sensation to recognize it in my actions and be able to name it and precisely pinpoint it. “Inat” could be found everywhere in the world, as it is, at times, a motivating spirit that pulls the best out of you in the worst of circumstances.

The word itself derives from the Turkish (and, before then, Arabic) language of the Ottoman Empire and the closest translation I found, refers to “an attitude of proud defiance, stubbornness and self-preservation - sometimes to the detriment of everyone else or even oneself.”** But for me it bears even more emotional complexities, (for me it also means a) positive motivation for digging into your forgotten strength to accomplish a goal or set a new, higher bar. 

In my case, “Inat” will often surface when I realize I was either taking things for granted or being too comfortable in my surroundings. 

I delve into the symbolism encapsulated within the perceptions of botanical gardens, glasshouses and glass ceilings***. These metaphors, filled with societal implications, serve as powerful lenses through which I try to augment the emotions. At the same time, duality is present in both this structure seen as sanctuary where aspirations flourish, foster resilience, but also as embodiment of intangible barriers that confine and restrict. 

By exploring the coexistence of generative glasshouses with imposed constraints and wild but controllable plant structures, I explore the resilience and determination required to transcend societal expectations and the idea of breaking free through incremental changes, slow and steady growth.  

 And when obstacles grow, “inat” sparks.    

 ----
 *Jezik bilja

_poput zvuka vode_
_sekundu pre ključanja_
_tako čujem bujanje naših biljaka_
_neke su reči toliko nežne_
_da ih čuvamo u plastenicima_

_da li da im otkrijemo, mama?_

_jezik bilja_
_nema veze s tim odakle ste_

-Radmila Petrović, poem *Jezik bilja* from the poetry collection *Moja mama zna šta se dešava u gradovima* (2020), published by PPM Enklava

-English translation by Jovanka Kalaba and edited by Ellen Elias-Bursa

** Dragan Milovic [London’s Institute of Slavonic and Eastern European Studies.], 2004

*** A glass ceiling is a metaphor usually applied to people of marginalized genders, used to represent an invisible barrier that prevents an oppressed demographic from rising beyond a certain level in a hierarchy.

Glasshouse INAT #12

Glasshouse INAT #8

Glasshouse INAT by Aleksandra Jovanić

This token has 45 latitudes going in parallel directions. Colors are fading.

45 parallel latitudes #109

“Latitudes” is part of a solo exhibition at MONO Tunis Gallery in October 2023, curated by Kenza Zouari.

"Latitudes" is a series of infinite animations in which a number of long extruded shapes travel in set directions with only minimal deflections. On their journey, shapes cross over one another while occasionally encountering loops, beams, and numbered asteroids.
 
From the earliest sketches, questions emerged: Where are they going? Who are they? Will their fall or race ever end? Where is the finish line? Or as Italo Calvino’s character Qfwfq, in the story The Form of Space, while falling, assuming he is falling, occasionally moving in an upward direction, maybe just flowing along an unknown path in the space without above and below, wonders if his trajectory will intersect with his love-longing in the future. On this never-ending fall, passing by one or many universes revolving around them, he contemplates all the positive and negative outcomes, dreaming of their parallels eventually meeting:

“In this alternation of hopes and apprehensions, I continued to fall, constantly peering into the depths of space to see if anything heralded an immediate or future change in our condition. A couple of times I managed to glimpse a universe, but it was far away and seemed very tiny, well off to the right or to the left; I barely had time to make out a certain number of galaxies like shining little dots collected into superimposed masses which revolved with a faint buzz, when everything would vanish as it had appeared, upwards or to one side, so that I began to suspect it had only been a momentary glare in my eyes.

 […] unwound in continuous, parallel, straight lines which mean nothing beyond themselves in their constant flow, never meeting, just as we never meet in our constant fall […]”

To all on unknown latitudes, exploring forms of the space.

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Controls: 

[p] key or click/tap for pause/play animation

[a] turn auto rotate on/off

[n] rotate view clockwise


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Made with p5.js and chroma.js. 

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Minting 3 tokens at a time will generate a series of Latitudes in all 3 possible directions in the same color palette.

This token has 30 latitudes going in perpendicular directions. Colors are fading.

30 perpendicular latitudes #55

Latitudes

I'm sure you know what Suma is about. You could say it in English sum, and then it's an elementary arithmetical problem, the total amount of something that exists. 

Suma system is divided in two equal parts, displayed side by side. Symbolic surface areas are given the exact same quantity of resources, just look at the numbers. But they don't appear to be alike or identical.  Differing points of advantage or disadvantage are highlighted by structural glowing barrier. Constant challenging movements are fixing the system, striving to achieve equilibrium. 

“Not everything that is faced can be changed. But nothing can be changed until it is faced.”
― James Baldwin

_______

Suma is part of YOU TOPIA exhibition, presented by VerticalCrypto Art at The NFT Gallery in London and New York.
Curated by Micol Ap.

Suma #68

Suma #58

Suma by Aleksandra Jovanić

“The Anatomy of Fracture” is part of the DISRUPT exhibition at Galerie Data (Paris) in October 2024

Archival inkjet digital print on Fedrigoni Woodstock Betulla 285gr
unique piece, 30x30 cm
Hand signed by the artist  
Digital certification + NFT

Aleksandra Jovanić, The anatomy of Fracture, Paper print #8, 2024

DISRUPT Exhibition at Galerie Data 
October 2024

This artwork is part of the exhibition DISRUPT at GALERIE DATA Paris, 2024

--

This NFT serves is linked to a physical piece, that has been hand-enhanced, with watercolor and dry/wet pastels.
It serves as authentification.

--

DOUBTS
With this series I embark on an introspective journey leading into the uncertainties of the creative mind and the relentless quest for meaning within my art. “Doubts” emerges from a period of deep research and self-reflection while facing how an iterative process raises too many questions in the middle of creation.
In generative art, I feel that the place of “doubt” is quite present. One of the advantages of this practice is to be able to generate tons of outputs during the same day. Your brain sees so many things from the same algorithm, that, sometimes, the next steps become blurry.
One night, you can be sure of what you want to do, and the next morning only questions remain.
Each piece in this series is a vivid tableau of unresolved queries and looping thoughts, where answers shift and evolve constantly. The artworks are layered with colors and forms that evolve and interact dynamically, challenging you, the viewer, to question your perceptions and engage in deeper self-reflection.

The compositions are intentionally unsettling, with intrinsic elements designed to disrupt the usual comfort of each other. This collection does not shy away from a darker side of my work; instead, it embraces and represents it, inviting you to find the beauty in life’s uncertainties. I convey doubt not merely as a barrier but as an essential, invigorating part of the creative process… Or at least mine?

Linking back to my earlier series "Foundations" and "Tout trace," which explored themes of growth and evolution, "Doubts" is touching upon the psychological challenges encountered along this creative odyssey, such as the constant negotiation between doubt and certainty;  filled with insecurities and a relentless pursuit of (a certain) artistic truth.

This series is a mirror of my current state of mind; full of questions and looking for answers: what kind of artist I am? How can I define myself? Where do I want my journey to lead?

By sharing these questions with you, the viewers, I invite you to join me on this exploratory journey. This series is an opportunity for us to embark together; and perhaps find clarity not despite but through the ambiguities and trials we encounter.

Florian Zumbrunn

Aleksandra

Aleksandra

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