Early sketches appropriating (consuming) paintings from the western canon.

Posted: May 18, 2018 at 12:43 pm

In addition to the “Zombie Formalist”, this new body of work includes a series of works that appropriate the painting canon. Images are deconstructed into individual pixels that are recomposed using machine learning methods such as the Self-Organizing Map (SOM) that arranges pixels according to colour similarity. The following images show the original painting along-side the SOM reconstruction.

“Lucca Madonna”, Jan van Eyck (1436)

“Palace of Windowed Rocks”, Yves Tanguy (1942)

 


Early “Zombie Formalist” Sketches

Posted: May 18, 2018 at 12:31 pm

This is my first post documenting my new body of work, “Machines of the Present Consume the Imagination of the Past”, funded by the Canada Council for the Arts. The first couple months will be early research focus but I wanted to post the current sketches developed for the grant application.

A little background: the “Zombie Formalist” is a component of this body of work where a diptych of light-boxes will generate banal and satirical formalist images inspired by 1960s post-painterly abstractionists such as Gene David, Barnett Newman and Guido Molinari. Following is a selection of aesthetically successful images using an early sketch of a painting generator. All these images are composed of vertical stripes with random colour, position, width and blurring on a coloured ground.


“Percepts from Watching (Blade Runner; 2001: A Space Odyssey; TRON)” 2018

Photo credit: Surrey Art Gallery and SITE Photography.

As part of the “Watching and Dreaming” exhibition at the Surrey Art Gallery TechLab. Three 47″ x 47″ light-boxes were produced thanks to the support of the British Columbia Arts Council. Each light-box shows a selection of the visual vocabulary (percepts) from “Watching (Blade Runner)” (2016), “Watching (2001: A Space Odyssey)” (2018), and “Watching (TRON)” (2018) installations. The composition of these works is the result of a machine learning algorithm (the Self-Organizing Map), which arranges percepts according to their colour, width and height. (more…)


“Watching (Blade Runner; 2001: A Space Odyssey; TRON)” 2018

Photo credit: Surrey Art Gallery and SITE Photography.

As part of the “Watching and Dreaming” exhibition at the Surrey Art Gallery TechLabWatching (Blade Runner)” (2016), “Watching (2001: A Space Odyssey)” (2018), and “Watching (TRON)” (2018) where installed in the same space and running in parallel. (more…)


“Watching (2001: A Space Odyssey)” 2018

“Watching (2001: A Space Odyssey)” is a revisit of Stanley Kubrick’s “2001: A Space Odyssey” using the same generative methods from “Watching (Blade Runner)” (2016). In this case of this work, the visual vocabulary is 50,000 percepts and the audio was generated with a finer granularity compared to the “Blade Runner” version. (more…)


Creative Applications Network: Theory (May 1st, 2018)

Artificial Imagination – Opening ‘the Black Box’ of Inscrutable AI Through Dialogue. Greg Smith, Creative Applications Network. May 1st, 2018.