Past Exhibition / un(process)ed
About the Artists
Interim Camp, 2009, Original Format: HD 720p, 13 min., Music by Arran Poole
Led by Marcus Wendt and Vera-Maria Glahn, FIELD is a graphic design studio based in London, which employs generative strategies as its medium. Inspired by Modern art, nature, science and technology, FIELD aims to create animated images with a life of their own. Interim Camp is born out of the duo's fascination with the beauty of mountain views and the physical force of glaciers and tectonics. For the piece FIELD built a custom landscape generator to create animated topographical height maps. Unfolding into three dimensions, these generative landscapes evoke the inimitable irregular patterns that we recognize in nature.
Neon Organic, 2005, Animation for multi-screen projection, Java2D
Using software processes as his aesthetic material, Marius Watz is concerned with hard-edged, rule-based geometric abstraction to explore the expressive potential of generative systems. Watz works with a range of output formats – from realtime software works and public projections to physical objects which employ digital fabrication. In Neon Organic, generative shapes (in the form of abstract curves) grow, twist and branch to form tangled webs that recall neuron pathways. The neon-colored shapes morph into explosions of light, eventually dissolving back into nothingness.
Along a River, 2007, Single channel video
Liubo Borissov investigates the interface between art, science and technology via multimedia installations, performances and video paintings. His piece Along a River explores visual perception and the brain's ability to combine a continuous flux of fragments into a single (internalized) visual representation. Along a River is one of a series of moving paintings created by deconstructing and reconstructing this biological process. The source material is a handheld video recording of a walk along the Hudson River in Tribeca and Battery Park in New York City. The footage is then sped up, stretched, sampled, fragmented – both spatially and temporally – and subsequently reassembled, representing the original scene in the mind; ie. an imagined 'artist rendition' of the mental picture, rather than the consensual hallucination of reality.
Autotrace #5 (Warhol's Campbell's Soup Can), 2010, Digital video (output 10fps)
Michael Sarff and Tim Whidden formed the artist collaboration MTAA in 1996 and have since created visual works and performances, which examine how cultural objects are produced within our new digital and collaborative culture. Using a JPEG of Andy Warhol's iconic Campbell's Soup Can (1964), the duo traced an image using off-the-shelf graphics software. This process transforms the digital image into a series of vector paths – ie: a mathematical description of shapes and colors. Each shape is then output as an individual frame and sequenced into a video. Through breaking apart Warhol's icon into digital parts and subsequently reassembling it in animation, a new active icon points to creative possibilities in art as well as our own relationship with consumption.