Description
After years of exploring the possibilities of algorithmic art, I have come to believe that I should enjoy the process and be guided by the exploratory nature of creative coding. This whole project began with a happy accident - my innocent desire to recreate by code a piece of art whose layers my friend Flexasaurus had forgotten to save.
We both have been pursuing the creation of simple shapes and compositions that could evoke a range of thoughts, associations and emotions in the viewer. Our inspiration is rooted in non-objective art, Suprematism, and Brutalism architecture, focusing on the use of basic geometric shapes, bold colors, and digital textures to create visual interest and depth.
We certainly know that geometric, non-objective art is probably the most overused concept in creative coding, and yet our "non-objective Cliché" was too entertaining and too provocative. I was intrigued, and Flexa loved to curate and inspire me along the way, so I could not work on anything else until it felt finished.
While working on this long form project, I grew to want each output unique enough that it could not be confused with any of the other iterations. This led me to explore a variety of compositions and algorithmic ways to create them. In the process, I discovered even more of the unique possibilities offered by the algorithms, and the result came out beautiful.
Something was missing, however. Kazimir Malevich's "Black Square" or any of Rothko's color field compositions would not evoke the same feelings without their unique physical texture. I could try to recreate a physical texture, but that was not my way.
I wanted to find a purely digital, code native way to achieve texture that moves you.
I started with something as simple as a dashed line.
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then a dashed rectangle
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and a dashed disk, and a triangle. Such a purely digital concept is in the nature of the code - the sequence of ZERO's and ONE's.
0101010101 - It is a ONE or a ZERO. A signal or its absence. Something or nothing. I loved it! I guess it loved me too, because the coding gods allowed me to dig and dig and dig and dig, adding different shaped 'strokes', different intervals, random endings, circular strokes, Perlin noise matched fields of strokes, noise or pattern filled strokes - I myself do not know all the possibilities for all the different digital textures, because they are too much.
Strokes and their successors filled the shapes and the compositions, giving them the power to inspire thoughts, associations and emotions even better.
One of the things I find most exciting about this work is the way it invites interpretation. Although the shapes are abstract, they suggest something different to each viewer. Some may see a cityscape, others a landscape, others a microcosm of cells or molecules, space or a situation or emotion. The eye is drawn into the forms and follows the interplay of color, shape and texture.
At its core, this work is about the power of algorithmic art to create something beautiful and thought-provoking from simple building blocks. It's a testament to the endless possibilities of generative art, and I am excited to share it with the world.
So here it is. A non-representational geometric project with some fun elements to help you find your own meaning and purpose.
It could be happy or blue, serious or fun. Please, enjoy it and consume it in moderation.
If you have these rare qualities:
- Dawn is near
- Flexasaurus is crazy
press "n", for a surprise!
Capture in high resolution for printing / large displays:
1. Open in IPFS.
2. Press S - to redraw your work in 2160x20160px (UHD), and then right-click on the screen to Save.
3. Add "?res=2" to the end of the URL and press S to double the resolution (4320x4320px) via higher pixelDensity().
4. Add "?res=3" to triple the resolution.
5. Keep increasing to break it.
Valid for PCs. On mobile, please just enjoy it. On Mac, the resolution is already too high!
p.p. The utility combo function will be used after it is sold out!