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Pathway Studio Gallery
Algorithmic Art by Roman Verostko
Pathway Studio Gallery. A small, private show space, attached to my home-studio exhibits selected works for interested colleagues, friends and clients. Access to Pathway Studio may be arranged by appointment. For contact information click here . The works shown here are representative selections of Roman's algorist work including some examples in private collections.
Pearl Park Scripture - G , 2004. Pen and ink drawing, 20" by 30".
Text: Characters in this version are non-rational glyphs arranged with a syntax similar to a language.
Rocktown Scrolls: "Black Elk Speaks, Version 1, 2006. 23" by 29". Pen & Ink algorithmic drawing.
The glyph writings on the bottom translate a text from "Black Elk Speaks"
Click here for translation detail.
Pearl Park Scriptures, Boole,"M", 2005. 20" by 30". Pen & Ink algorithmic drawing.
The glyph writings on the right-hand translates a specific text from the writings of George Boole. Click here for text translation detail.
Cyberflower Red, 2002. Pen and ink algorithmic drawing. 29" by 23"
Click on left, middle, or right for larger image. The algorithm for this work dates from 1989.
Third Millenium Gaia
Triptych, 1999, 36" by 16"
Pen & Ink,
Two Gold Leaf Roundels
Terminology: The term generative art applies to these works. The procedure, similar to the biological process of epigenesis, follows a detailed step by step set of instructions (code) for creating the work. These detailed instructions, written in the form of software, contain "form-generating routines" or algorithms which are similar, in many ways, to the score a composer creates for the performance of a musical form. For a brief outline of the nature of algorithmic procedures see my overview Algorithmic Art and my 1988 paper on Epigenetic Art: Software as Genotype.
Below: Comparison of a painting made by hand in 1964 and a painting on paper executed with software driving brushes mounted on a pen plotter.
Handpainted, acrylic & crayon,1964.
Celebration Series, 4' by 4'
St. Vincent Archabbey, Latrobe ©
Algorithmic plot, brush & ink, 1-7-1988 Pathway Series, 1988, 22" by 30"
Paper: Magnani (cream)
The hand-painted work (above left) is presented for comparison with an algorithmic work (above right) that was generated and executed algorithmically with a plotter coupled to a PC and driven with my software. Oriental brushes were adapted to fit the plotter's drawing arm. A similar example is shown below.
*** From brush in hand to brush in machine
Algorithmic brush painting, 1989. 24" by 36" on paper. The brush was mounted on a pen plotter & driven with the artist's software. Interactive software allowed re-load of brush to replenish ink/paint for each stroke as needed.
Detail shows pen & inks lines drawn with the same algorithm that was
used for the brush stroke forms. Changes in scale, line density and color yields clusters of pen strokes. Pen color changes were software controlled on a multi-pen plotter.
Most of the algorithmic work consists of clusters of many pen strokes with only occasional brush strokes. The early algorithmic work includes several paintings, like the one above, plotted with paint-brushes rather than ink pens. These works bear a remarkable resemblance to hand-painted work of the 1960's (see: Paris history.) The "brushing" instructions followed stroke-generating procedures that attempted to achieve a computer simulation of early 20th century automatism. This was an effort to employ the computer as the generator as as a form of "computer automatism". This routine, that requests a brush for each stroke, requires the artist to dip brushes in ink or paint and hand them to the plotter. The routine has evolved over the years acquiring more calligraphic features and use of the routine is very sparing. In 1995 "self-inking" sumi brushes were adapted to fit the plotter's drawing arm so continuous script-like forms could be achieved more easily .
Artist's Tools and Materials. Examples shown below are pen plotted drawings employing tech pens and acrylic inks of varying transparent shades. Each line, is a vector drawn ink pen line. Some works include brush strokes executed by the pen plotter with paint brushes adapted to the drawing arm in lieu of pens. Original software drives a PC coupled to a multi-pen plotter with a palette of 5 to 8 colors. For tools and practice see Pathway Studio.
Lung Shan II, 1990, 72" by 24"
Pen & brush plotted work on paper.
Click here for detail, left section
The work above includes reversed mirror brushstrokes echoing the distribution of pen strokes. With each pen stroke derived from the same distribution, the procedure achieves pervasive self-similarity.
Gaia Series, 1992, 36" by 24" (53KB)
**Click here for detail upper section (96 KB)
**Click here for detail, lower section (106 KB)
Gold leaf by hand.
Diamond Lake Apocalypse, 1994, 22" by 30" (45 KB) ©
Collection: Gladbeck City Museum, Germany.
Gold leaf by hand.
Illuminated Algorithmic Scripts. Presented as an opened book with a page left and a page right, these works are intentionally fashioned as "precious objects" in the tradition of the illuminated manuscript. Just as the medieval monk transformed the written word through "illumination" so, in our time, with a pen plotter, an electronic scriptor, transforms algorithmic scripts into precious objects. With its network of pen plotters the artist views his studio as an electronic scriptorium where digital procedures are celebrated in the form of illuminated scriptures. The studio overlooks the Diamond Lake that inspired the title for this series.
Diamond Lake Apocalypse, 1993, 22" by 30" (73 KB)
Pen and brush plotted work on paper
Gold leaf by hand.
Diamond Lake Apocalypse, Burning Bush (59kb)
Pen plotted drawing on paper. 2000, 23" by 29".
Pathway Series, 1996, 30" by 44" (53 KB) ©
Pen plotted drawing on paper
The software routine for this work dates from 1988.
Pathway Series, 1988
40" by 24", Algorithmic pen plot on paper.
By 1988 the software had achieved subtle painterly effects.
See also: Algorithmic Art, Twenty Years.
Murals. Major works include a pen plotted mural, The Growth of Form, University of St. Thomas (1997) and another, The Flowers of Learning, at Spalding University in Louisville, KY (2006).
Some works include a studio seal. For detailed information click here.
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