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Digital Art Museum Inaugural (London)
This page shows some works by Roman Verostko that may be seen at the physical exhibition marking the official launching of the Digital Art Museum. This museum is an on-going project to establish a museum of digital art on the web. A retrospective physical exhibition of works will be shown as an occasion for launching the site officially.
Retrospective of Digital Art. December 5-18, 2001, London Guildhall University, Unit 2, Central House, 59/63 Whitechapel High Street, London.
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Drawing c1, 1987, 9” by 12”. Pen plotted drawing on paper. This drawing was executed with the artist’s earliest algorithm adapted for use with a pen plotter. This algorithm, derived from the artist’s Magic Hand of Chance (1984), executed drawings with a multi-pen plotter using up to 14 ink pens. Works measured up to 6 feet in length. |
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Drawing c2, 1987, 9” by 12”. Pen plotted drawing on paper. Notes: see Drawing C1. |
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Players S1, 1988, 9” by 12”. Pen plotted drawing on paper. The players series were made for a small showing to demonstrate how an algorithmic procedure can execute a family of forms. The artist’s 1988 paper, Epigenetic Painting, Software as Genotype, outlined this procedure and what the artist believed would be the implications of this procedure for the future.
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Players S2, 1988, 9” by 12”. Pen plotted drawing on paper. Notes: see player 1. |
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Hildegarde
Visions, C, 2001,
11.5" by 14.5". Pen plotted drawing on paper.
Arrays
of form. The pen plotted "Visions of Hildegarde" invite
meditation through arrays of improvisation. Each vision, one more
improvisation in the seemingly countless array of possibles, points to the
manner in which the limits of the drawing procedure, like life, are
unknowable. The algorithm dates from around 1991. |
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Weave 1,
2001, 11.5" by 14.5". Pen plotted drawing on paper.
The
"all-over" distributions are linear random walks with
numerous iterations. The artist's first pen plotted works employed
this procedure as a form of computer automatism meant to have a digital
mime of the use of chance and automatic drawing in early 20th
Century art (late dada. early surrealists and later abstract
expressionists). Earliest use by the artist would date from 1981. |
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West East 2, 2001, 11.5" by 14.5".Pen plotted drawing on paper. Gold leaf by hand. The main algorithm, dating from 1988, uses random distributions with parameter controllers for directing position, color, length, scale and direction. Linear fields address the attraction and repulsion of opposites - their similarity and their difference are presented simultaneously as "West-East" or, in other versions, as "Heaven and Earth". These images evoke experience that transcends the tight bounds of earth and object. |
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Two Thousand Improvisations (s17), 2000, 11.5" by 14.5". Pen plotted drawing on paper. These improvisations, celebrating 2000 years, were begun in 1999. Three series with various versions have been drawn. Each version presents a different series of two thousand improvisations, each individually drawn with pen and ink, line for line, without any repetitions. The detailed originals can be hypnotizing as the eye wanders from one unit to the next discovering unexpected form inventions from one rectangle to the next. The algorithm dates from around 1990. |
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Cyber-flame, 1999, 11.5" by 14.5". Pen plotted drawing on paper. The algorithm for this generator, dating from 1998, employs the same procedure for initiating the control coordinates as in Verostko's earliest algorithms. Algorists of the late 20th Century have been exploring a new frontier populated with unseen worlds of form. Verostko believes we have only glimpsed the edge of an immense array of visual forms, a marvelous world to be explored and harvested in the 21st Century. |
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Flying Cloud (Cyberform II,6), 2000, 11.5" by 14.5". (See Cyber-flame above) |
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Boccioni (Cyberform I,5), 2000, 11.5" by 14.5". (See Cyber-flame above) |