**Strands of Solitude** is a meditation on connection and isolation in the digital age. Through a series of intricate and highly detailed digital compositions, William Mapan delves into the ways in which social media and our increasing reliance on technology has both connected and disconnected us from one another.

The proliferation of social media and other digital platforms, Mapan's art highlights the ways in which we can still feel isolated and disconnected from those around us. His use of saturation, experimentation with density and negative space, and flow fields serves to emphasize not only this sense of disconnection, but more importantly remind the viewer that we are still part of a larger whole. As the viewer is drawn into the works, it is Mapan’s hope that we can recognize that we may be more similar than we are different.

Despite this underlying sense of isolation, Mapan's work also celebrates the ways in which we are able to connect and find common ground through our shared experiences and connections. By bringing together a variety of different elements and influences in his art, Mapan creates a sense of unity and connection that is palpable to the viewer. As we navigate the complexities of the digital age, Mapan's art serves as a reminder of the ways in which we are all connected, even in the midst of seeming disconnection.

A central tenant to Mapan's practice is his attempt to inject a sense of humanness into the algorithms that drive his generative art. Through his use of organic forms and rich textural elements, Mapan seeks to bridge the gap between the artificial and the human, creating works that are both technically impressive and emotionally resonant.

Strands of Solitude #110

Strands of Solitude #214

COMPUTE: sinking patterns—Naufrage II.

This series of eight works is a continuation of Mapan’s interest in exploring the materiality and texture of something that is immaterial – through coding algorithms, or more specifically in this case, JavaScript.

Through the highly delicate imitation of paper texture as background, as well as the variety of saturation, forms and patterns exemplified by the blue colour, Mapan recounts the story of his childhood, when he first learnt how to fill the cartridge of a fountain pen. He recalls the blue ink staining his fingertips as well as sheets of paper, creating a mess, but also random patterns. This series of work alludes to his own childhood as well as the tactile nature of pen, ink and paper, but more broadly to a personal memory that is shared among a collective consciousness. 

A theme central to Mapan’s practice is his attempt to inject humanness into the algorithm. Instead of letting computers draw regular patterns and shapes, he achieves this sense of humanness by breaking the regular algorithm and incorporating more organic shapes, so the composition no longer looks sharp and machine-drawn. Similar to a fountain pen which releases more ink with pressure, Mapan incorporates pressure as an element that allows for the computer-like rigidity to become more human-like.

Naufrage II

Anticyclones are a weather phenomena.
They pierce through darkness to instill peace and calm. Their planetary scale reminds us of how little we are and how powerful they can be.

High pressure, rotation, air flow… The "Anticyclone" series is an artistic exploration and interpretation of those concepts.

The rendering borrows its aesthetics from traditional and organic media like paper and crayons, to lend an analog/archival look.

"Can a computer draw like a human?"
The question is asked and challenged once more through "Anticyclone".

[Press the left/right keys to explore the different steps building the final image. Bottom/top for the first/last step. Can be intense for your machine]

Anticyclone #530

Anni, in 1935, you came here in Mexico.

The first trip of a long series that inspired you. As a human. As an artist.

It was an important step in your artistic journey. You learned and discovered so much from this culture. Its influence awakened you even further. Your craft evolved.

Now I wonder, Anni… what did you find there?
How can I evolve myself?
How to awake?

With this series, inspired by you, my practice and my own experience , I found something, too.
Like you, I like to explore "tactile sensibility" along with colors. How can I connect with someone else with those things alone?

Do we really need to touch things to feel them?

I wonder… Have you ever tried to weave with algorithmic paint, Anni? Maybe you did actually? I saw you were already using paint to sketch your pieces… 
I'm curious what you would be able to do with the tools of my times… 

So many questions but so little time, isn't it?

Best,
William

1935 #7

A grid of many lines forming a dragon crafted on paper.
They all have their own personality... Be sure to name and take care of them.

tw: williamapan

Dragons #1

"Circle either draws a color or a stencil" test

by @williamapan | 1358x1920 | jpg

Untitled-220125

COMPUTE: sinking patterns—Blotting Seas.

This series of eight works is a continuation of Mapan’s interest in exploring the materiality and texture of something that is immaterial – through coding algorithms, or more specifically in this case, JavaScript.

Through the highly delicate imitation of paper texture as background, as well as the variety of saturation, forms and patterns exemplified by the blue colour, Mapan recounts the story of his childhood, when he first learnt how to fill the cartridge of a fountain pen. He recalls the blue ink staining his fingertips as well as sheets of paper, creating a mess, but also random patterns. This series of work alludes to his own childhood as well as the tactile nature of pen, ink and paper, but more broadly to a personal memory that is shared among a collective consciousness. 

A theme central to Mapan’s practice is his attempt to inject humanness into the algorithm. Instead of letting computers draw regular patterns and shapes, he achieves this sense of humanness by breaking the regular algorithm and incorporating more organic shapes, so the composition no longer looks sharp and machine-drawn. Similar to a fountain pen which releases more ink with pressure, Mapan incorporates pressure as an element that allows for the computer-like rigidity to become more human-like.

Blotting Seas

William Mapan 1/1s

1935 #55

1935 by William Mapan

Dragons #4

Dragons

An entity made of particles. In a loop, trying to escape from its box... | 1080x1080 | 240 frames | by @williamapan

Boxed entity 01

Hic et Nunc

Strands of Solitude #245

**Strands of Solitude** is a meditation on connection and isolation in the digital age. Through a series of intricate and highly detailed digital compositions, William Mapan delves into the ways in which social media and our increasing reliance on technology has both connected and disconnected us from one another.

The proliferation of social media and other digital platforms, Mapan's art highlights the ways in which we can still feel isolated and disconnected from those around us. His use of saturation, experimentation with density and negative space, and flow fields serves to emphasize not only this sense of disconnection, but more importantly remind the viewer that we are still part of a larger whole. As the viewer is drawn into the works, it is Mapan’s hope that we can recognize that we may be more similar than we are different.

Strands of Solitude by William Mapan

Anticyclone #194

Anticyclone by William Mapan

Distance #190

Distance is a series of computational artworks created by French artist William Mapan, generated randomly on chain. Volume 5 of The Los Angeles County Museum of Art’s Remembrance of Things Future initiative, in which contemporary artists experimenting with blockchain technology are invited to respond to works in the museum, Distance is Mapan’s homage to Paul Klee’s iconic 1914 watercolor, In the Kairouan Style, Transposed in a Moderate Way, in LACMA’s encyclopedic collection. Made in support of LACMA's Art and Technology Lab in collaboration with Cactoid Labs, Distance is an exploration of color, form and the ability of code to give rise to painterly, organic textures that resolve into abstracted aerial landscapes. “Distance is about standing back from what you see. I was reflecting on my past works and it is always about my personal experience. It is about seeing the bigger picture.”

Best viewed on chrome desktop.

Distance #195

Distance by William Mapan

*Sketchbook A* is a series of what appear to be scrawled childlike drawings created with coloured pencils, doodles one might find in a sketchbook. Upon closer inspection, the works are anything but childlike, and anything but scrawled. The hard edges of the colours are the work of a computer, and are mimicking the textures of analogue materials. These works are explorations of the intricate dance between the perceived tangibility of the material world and the intangible essence of the digital realm. They pay homage to the boundless creative spirit of childhood, evoking a profound sense of nostalgia, breaking away from the polished aesthetics typically associated with digital art and infusing a unique sense of charm and authenticity.

Sketchbook A #25

Sketchbook A #60

Sketchbook A by William Mapan

*Through Your Eyes* creates organic aesthetics suggestive of analogue methods, imitating the appearance of materials such as coloured pens and highlighters. However, embedded within these works is also an invitation for the observer to witness shapes emerging from the sketches. They draw on the innate human tendency to find recognisable forms within inherently abstract images. This attempt to engage, to discover and explore, mirrors the very nature of artistic inquiry itself – a journey where personal narratives intertwine with abstract realms.

Through Your Eyes #1

Through Your Eyes #5 #1

Through Your Eyes by William Mapan

Bain de couleurs (process 9),  
2023.

There's no such thing as digital artists. Mapan sees only artists. The medium is not as important as the human behind.

"Bain de couleurs" is the first oil painting he's showing publicly the world (outside of his sketchbooks, personal paintings or commissions)  
While Mapan is known primiraly for his digital native generative artwork, here he's changing the way he uses the machine.  
In this instance, Mapan developed an algorithm as a way to search for an output to paint the same way one could use a search engine. Except Mapan made the universe to search into.

With this techniques combination, Mapan is able to dive into his love for algorithm but also put into practice his love for pigments and color mixing.

The piece includes: a digital version along with 12 process pieces (all minted on the same contract) and an oil painting version (150x100cm)

Bain de couleurs[9]

Bain de couleurs (process 3),  
2023.

There's no such thing as digital artists. Mapan sees only artists. The medium is not as important as the human behind.

"Bain de couleurs" is the first oil painting he's showing publicly the world (outside of his sketchbooks, personal paintings or commissions)  
While Mapan is known primiraly for his digital native generative artwork, here he's changing the way he uses the machine.  
In this instance, Mapan developed an algorithm as a way to search for an output to paint the same way one could use a search engine. Except Mapan made the universe to search into.

With this techniques combination, Mapan is able to dive into his love for algorithm but also put into practice his love for pigments and color mixing.

The piece includes: a digital version along with 12 process pieces (all minted on the same contract) and an oil painting version (150x100cm)

Bain de couleurs[3]

William Mapan—Bain de Couleurs

William Mapan pushes his algorithm beyond familiar confines with a new series of generative artworks.

Centrifuge is a series of unique and tangible prints drawing inspiration from memory and nostalgia. Mapan’s experimental outputs are a display of kinetic movements linked to how ink moves upon paper. Coloured inks form a sequence of 35 distinct variations of colour and pattern, each unique output controlled by code. No detail is sacrificed in the transition from digital to physical, as Mapan invites us into a sensory world of rhythm and chance.

“The work itself is more about experimentation as a whole. I know how code behaves, but wanted to explore the algorithm and how to go further. How can I have randomness in real life, and how can it make new textures?”

williamapan

williamapan

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