Glitch, Mix, Slide: A perpetual work in progress

In this report we explore the role of technology in creating high definition, works with an element of distortion or in a yet-complete state of flux, hybrid universes and flowing shapes, evolving in the bat of an eyelid.

In 2018, we witnessed the popularization of "very satisfying" videos — these are videos which show the process behind creating something - anything - and provide a sense of fulfillment to the viewer. Throughout the course of Frēsh 18 there has been an ever-present current of art that made frequent appearances: glitch, mix and slide techniques were a favourite among digital visual artists. There are a number of sources behind this trend.

First of all, let’s not forget the fascinating connection between artistic expression and technology. David Hockney recently argued that without metal color tubes, there would be no Impressionism, the former facilitating portability, the latter drawing themes from the great outdoors. The same stands true with the glitch, mix and slide approach. The rise of such techniques is aided by the introduction of powerful hardware and software, capable of billions of computations per second. The more complex the software, the higher the definition of the puzzle piece, the larger the set of discrete values, which once combined produce a piece of art unique but equally possible.

This is a very interesting train of thought, indeed. The endless possibilities that define the outcome, all infinite and equal, are perfect on their own. In a sense, all exhibits leave it up to the viewer to define what the final version of an artwork would be and all opinions offered on the matter are equal. It is safe to assume that individuality and respect of one’s own expectations and interpretations exceed the artist's initial expectations. There is indeed a feeling of fulfillment to the viewer, as they witness and participate in the crafting process.

One could claim that this is yet another sign of democratisation of art in its rawer form: a laborious, lengthy process; a series of iterations mirroring the artist’s state of mind from frustration to exaltation; the art as a vehicle of perpetual food for thought which changes depending on one’s needs, habits, cultural associations and perception.

The art as universal and as personal as it gets.

The following selection of oeuvres highlights all the themes introduced before: the role of technology in creating high definition, works with an element of distortion or in a yet-complete state of flux, hybrid universes and flowing shapes, evolving in the bat of an eyelid.

 


The identity/anonymity pendulum

In an era where everything is data and singular data sets can positively identify a person, an artist’s reflection on anonymity takes the high definition road - and a stroke of digital brush wipes it all away.

We are made of... !!


Felo Odriozola
curator

"It's about disintegration of our soul"

Felo Odriozola

 

Weary


Alexy Préfontaine
carbon curator

"This series was born from a happy lighting accident during late night experiments. They ended up describing how I felt during this summer of 2017, having so much going on at the same time. Weary was also a breakthrough into a completely different visual style for me as an artist. This project was inspired by Patrick Sluiter's incredible aesthetic and Rik Oostenbroek's abstract renders."

Alexy Préfontaine

 

Lovers I & II


Nick Sullo
bronze carbon curator

"A physical embrace between two lovers."

Nick Sullo

 

Eye


Ken Long
curator

"A peek into the window to the soul."

Ken Long

 


Bridging realities

3D is for what mortals see, but for the sci-fi utopia we need a multidimensional canvas, where space is relevant, time is a constant, and all realities, shapes and forms are equally possible.

Dripping Colours


Arseny Vesnin
curator

"Dripping Colours is a piece from Glitch Art series combined to reflect on the topic of Digital Data and its fragility."

Arseny Vesnin

 

Skies


Arseny Vesnin
curator

"Skies is the last piece of Glitch Art series to reflect the Digital Data and it's fragility. Files corruption, memory loss is a typical life of our data. Data has senses and it is alive, it can control and obey, destroy and create, it is everything in our digital life and nothing until we share it. Skies is a purgatory of dead and unnecessary data, it is a place where files goes after you dump your trash bin on desktop or mobile."

Arseny Vesnin

 

World of Pixels


Jonathan Swecker
silver

"Trying to make things that people will look at and ask how? I've always tried to create things that trigger emotions in viewers that will make them happy or feel a certain way. Also using my camera and creating effects to give a different perspective on ordinary objects is fun. These shots keep me going in my career and will hopefully inspire others to try to think outside the box."

Jonathan Swecker

 


The superiority of Now

The mix of oil colours and water is not only an expression of art but also an act of mindfulness. Freezing the osmosis is the ultimate celebration of nowness.

Hold your hair deep devotion


Alycia Rainaud
curator

"Hold your hair deep devotion / Confusion in her eyes that says it all / Layla. Here are some works I created in 2017 for my Digital Art account : Malavida. Working with paint, programming, photography and colours for an abstract visual effect."

Alycia Rainaud

 

The Buzz


Wizmo
curator

"A warm afternoon in August. There's only you in the park. A smooth breeze of fresh air and the trembling metallic sounds of insects flying by."

Wizmo

 


Frēsh Insight
The Insight programme explores ideas and concepts from across the Frēsh 18 entry pool. Compiled by Villy Devlioti with help from our Curators.
11.2018