netLines (2012) was an interactive, projected work in an exhibition at McIntosh Gallery, London, Ontario, presented in conjunction with the conference “Intensities and Lines of Flight: Deleuze, Guattari and the Arts”. See:
"netLines is a complex interactive system which exhibits a range of different behaviours. The composition consists of 10,000 lines which traverse the whole space, and the voids in the space are created by the absence of lines. The lines are simultaneously repelled from all these voids until they reach positions of equilibrium. Voids can be expanded by clicking or dragging on them with the mouse pointer. This affects the whole field and the lines are forced to jitter around until they find new equilibrium positions. Different behaviours can be elicited with different levels and intensities of interaction. The sound of the work changes to reflect these different behaviours."
Tactical Media Works
Designed for distribution via corporate social media platforms.
"must vigilantly make use of the cracks that particular conjunctions open in the surveillance of the proprietary powers. It poaches in them. It creates surprises in them. It can be where it is least expected. It is a guileful ruse. In short, a tactic is the art of the weak."
-Michel de Certeau
The Audio Archive
The Audio Archive was an experimental work presented at the MFA/PhD open studio event in March, 2013. This work recorded all statements spoken into the microphone, while constantly playing back a layered composition of these statements through the headphones. the longer the work operated, the larger the "audio archive" of statements became. The archive was initially seeded with quotes from Jacques Ranciere's The Ignorant Schoolmaster, which sets forth a radical philosophy of the equality of all human intelligence.
A recording of the archive can be listened to at this link:
This untitled interactive work was projected on a large wall behind the bands that performed in the large foyer space of Museum London. The projection continuously created its own simple overlaid coloured shapes which would bleed into each other creating mixtures of stain-like blended colours that evolved constantly over time. Visitors could also interact with the installation by drawing their own marks and shapes into the projection using a mouse. In order to make the interface as simple as possible, a random colour would be selected every time the user clicked down on the mouse to draw.
Abstract Painting Generators
Over the past few years I have developed a number of abstract painting generating programs.
"Collager" takes random parts of images and continuously collages them over the existing composition, creating an evolving series of images, each slightly modified from the last. The results can range from highly abstract to partially figurative.
"Four Winds" uses four different drawing methods which operate on different ranges of colours at different times, creating a constantly evolving abstract painting where colonies of colour appear to grow and compete against each other. Four Winds is now available as a free Android app on the Google Play store:
The Genetic Algorithm Abstract Painting Generator attempts to evolve paintings to maximum "fitness" by make random variations to the existing painting and comparing its fitness to the previous iteration. The "fitness" of the painting is calculated using a formula which involving a very subjective set of parameters about what makes a "good" abstract painting.
The image-based abstract painting generator uses a library of images and a large range of different drawing methods to render a virtually infinite range of pictures, many of which are very surprising.
Shapepaint draws with an array of simple shapes which move across the screen, creating very digital-looking compositions.
All of these programs are written using the Processing language.
Collage program in action (video capture)
Four Winds program
Genetic Algorithm Abstract Painting Generator
Image-based abstract painting generator
Colour Mutator is my first exhibited artwork produced using computer programming. It was originally written in Java, but I rewrote it in Processing later on, which simplified the code.
The program is both generative, in that it constantly changes and produces unpredictable outcomes on its own, and interactive, allowing a viewer to intervene in the process. The program generates blobs of colour which spread out and change colour over time. The user can draw blobs in the window, which then grow according to the same rules. When the screen becomes very full of growth, a die-back phase occurs. I think of the work as a sort of digital mould simulator.
3rd-17th April, 2009, Toi Poneke Gallery, Wellington, New Zealand.
This solo exhibition represented about a year and a half of work. All of the works were abstract videos, presented as projections or on television screens, some with sound, and some silent. A number of different processes were used to produce these works.
Some of the works started with a recorded video, which was then manipulated digitally through various software processes until the source material was unrecognizable - but the particular events and rhythms of the original footage were still driving the time-based aspects of the work.
In other works, abstract soundtracks were first composed using certain pieces of software, and the sound was then used to create video using animation software. This created abstract video where the sound and motion were very tightly linked. The reverse of this process was also used for some works - using software that rendered sound from an image.
In the other silent works, hand-drawn scenes were animated using morphing software, or elements were drawn and animated directly in motion-graphics software. Other software was also used to unify the visual aesthetic of the works.