worm_of_worms

QUBIBI

STOREROOM

"Why do I put images on my timeline? Mostly for myself to look at. Occasionally, visitors look at it. It is the same as when I hang a painting in room."

"A while ago, Mimi asked me why I started generative art in the first place. I started creating my work which is a recent style, not because I had a passion for ”generative art” nor because I chose to do ”generative art”. I was just interested in a certain phenomenon, and as I began to create works of art, I came to realize that this is called "generative art". That's all."

"If art is a piece of work, then the purpose of creating it belongs to that particular piece. For myself, I have no objective for my art, and therefore, there is nothing to achieve."

LEFTOVERS

"However, if I could use art to ultimately connect and/or continue to connect myself to the world (which contains everything outside of myself), I would die a happy man."

Jason Bailey describes qubibi’s work as the following: “There is something universal, transcendent, mysterious, and perhaps even spiritual, in each of the forms from the series. Part of the fascination for me comes from wondering just how long the artist can go without repeating himself; the subtle diversity across dozens of works has me returning daily to follow the evolution."

I couldn't agree more. That's why I attempted to combine every qubibi token I was able to find into one gallery. Every token is used once and once only. Morphing into each other. A worm of worms.

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"The only thing that constrains my life is the act of creation, and this is what drives my work. I obsess over it and can live my life completely focused on it. It's a very comfortable state to be in, but it's not necessarily a fun process."

"The only thing that matters is how intensely the process affects me. The stronger its hold on me, the more powerful the resulting work may be. If I didn't have this creative process in my life, I would probably end up being a person who lives to drink all day, haha."

mimizu

METADATA CURRENTLY PENDING - WILL UPDATE

"One day, I walked into the food section of a department store to get my mind off things. There were delicious-looking terrines lined up at the storefront: slices of colorful cross-sections that looked like miniature landscapes painted on ores. Was it the vegetables that filled the gaps between pieces of meat, or was it the meat that filled the gaps between vegetables? "

"I don’t remember what I was thinking at the time. Still, I realized then that the terrine represented a slice of music and that it contained the musical structure inside. In other words, that the terrine is the music. So, for example, the length of a terrine is equal to the length of a piece of music, the asparagus is the piano, and the meat pâté is perhaps the vibrations."

"Had I continued down this path, I might have ended up making terrines instead of earthworms. A few days later, I came across a dead worm on the side of the road, and the encounter sparked a connection with the terrines in my mind. If I stretched a terrine into a long and narrow form, perhaps it would become an earthworm. If I sliced it, its cross-section might also reveal a colorful landscape."

"Just as each person contains a hidden universe within themselves, an earthworm might also carry an ancient landscape that stretches infinitely under a brilliant sun. Or maybe we’ll find an endless expanse of outer space dotted with numerous stars. And all of these worlds and elements are pulsating… with music! In other words, MIMIZU is a slice of an earthworm, a window that lets us glimpse into its internal physical structure that reverberates with music."

"Music, terrine, earthworms… Several keywords and their interconnection confirmed the work’s legitimacy in my mind and led to the birth of MIMIZU. I call them “earthworms” for the way they appear in the images and animations that make them what they are."

"This process makes me feel that my work is similar to that of a photographer. The only post-processing I allow myself is some cropping and slight color adjustments. For me, I want generative art to be an act of quietly watching over the clashing of rules and chaos."

"As for the production process, I believe that ultimately the art must have a strong concept or set of rules. They are like the contours that emerge from my own process of trial and error, where I continuously create and reject what comes up. It can also be understood as a set of answers. So I feel that I am often guided towards the goal as I create. These concepts and rules are also often hidden underneath the surface of the finished artwork."

"I have a son. When he was little, I loved watching his back as he played with his toys. It was my favorite way to spend my time, and it can be applied to many things. For example, in this situation, I am the viewer, and my son and his surroundings are the artwork. This is my ideal, but it's probably not easy to actually create such a composition."

Have you ever seen a dancing worm?