Welcome to this fortnight’s VerticalCrypto Art Curatorial Picks- our latest selection of creative innovators to watch out for in the crypto art space.
Today we are discovering four artists who, in their distinct ways, use touchpoint development platforms to create generative art and accelerate their explorations of the digital and the physical worlds colliding-with hypnotic, immersive, often destabilising, results.
Artist #1- somaticbits, Digital Organics, 2022.
We’ve selected Digital Organics by somaticbits (real name, David Pettersson) as it visibly performs his self-professed ambition to ‘infuse an organic soul into binary code’.
The work was created by passing a digital current through an algorithm and allows the viewer to alternate between different ‘variations’, opening up the possibility of static images or instead engaging in a so-called select ‘hyper-saturated’ mode.
This invite into seemingly infinite opportunities of viewing the work, is accompanied by the artist’s prompt to view the work in full screen, to enjoy the full detail. Seemingly then, a little guidance is still preferred in structuring the experience-perhaps due to his desire to ‘represent a complex inner world of altered realities’, rather than simply generate a series of experiences.
Regardless of intent, the impact proves as hypnotic as it promises to be and deploys his background in coding and digital design, to impressive effect.
Artist #2-Joelle Snaith, Serendipity No 2, 2022.
Joëlle Snaith describes herself as an artist working in the realm of live visuals and performance, where she explores the relationship between sound and form. She is a visual artist for Richie Hawtin and resident at FOLD.
This work is part of a five-piece series, consisting of compositions paying homage to ‘those accidental moments and unexpected results that are uncovered along the way.’ Similar to ‘Digital Organics’, the pieces create an immersive, hypnotic experience and her use of music evokes a compelling relationship between audio and the unfolding visuals.
The series was exhibited at OFFF Barcelona, earlier this month and her work also featured in our LA exhibition ‘ART & NFT: The Digital Roots Exhibition & Auction’, earlier this year.
Artist #3-fingacode, blocccle, 2022
Describing his work through action (erratic keyboard tapping and mouse-clicking) rather than expressing any intent over artistic outputs, it’s unsurprising that fingacode is as open to audiences experiencing several variations of the work, as the others in today’s curatorial picks.
Yet, despite his desire to generate collisions (which imply a degree of the ‘accident’) there is a more structured approach to his inspiration- that is, a wish to recreate the ‘smashing’ of the ‘classic’ computer arcade game, ‘Brick Breaker’. The result is reminiscent of the language of orphism-favourite, Robert Delauney, with its simple geometric shapes and balanced compositions- created using p5.js coding.
As well as being popular (all sixty editions of his recent work blocccle ‘minted out’ within three hours of being released), fingacode is prolific- his Polkawave series, for example, running into hundreds of editions.
Jawhari Zaki is a Greek multidisciplinary artist working at the crossroads of architecture, art and creative coding, and working under the pseudonym Urbandrone.
Since 2007 he has been concerned with ‘the sensitive perception of the space’, and the threshold or the blurry ‘limits’ between the virtual and physical.
This blurriness is evident in ‘TransFormation #003’, where ambiguity invites the audience into compiling their own interpretation and the texture depicted recalls ancient, embroidered fabric as easily as it does a contemporary drone shot.
Ancient or modern; physical or digital; close up or a view almost too far off to see? Boundaries are close, but never close enough to grasp in their entirety.