Really happy to announce that my two abtract machinima part of the Serie La Mer – Mer Violette Parme and Mer Orange Violette are exhibited in :
An NFT group exhibition presented by elementum and unpaired
DEEP DREAMS OF THE STRANGE PLACES by Alexander Mordvintsev on elementum
Alexander Mordvintsev, Deep Dreams of the Strange Places, 2019
The artworks in this exhibition expose us to a variety of perspectives of what can be understood under the term “Digital Landscapes”. They all transform and translate ideals of nature into the virtual space, to create speculative imaginations of places that have not existed before.
This exhibition will show how artists are creating mesmerizing virtual landscapes with a variety of digital tools ranging from artificial intelligence algorithms and deep learning neural networks, game engine visualizations to virtual reality sculpting, 3D Design and point cloud rendering.
In some way or another, nature is always present in these images, although more often than not, it is altered, abstracted or distorted. Nature here is never natural. Taking their reference points in real landscapes or traditional art historical genres of landscape depiction in paintings and photography, the selected artists play with new and unique ideas of how the digital landscapes of the future might look like.
Artists featured include Isabelle Arvers, Stephan Bruelhart, Dan Holdsworth, Alexander Mordvintsev, Tanja Vujnovic, and David Young.
“Digital Landscapes” is curated by Marlene Wenger and Petra Tomljanovic à partir du 15 septembre
Mer violette parme Isabelle ARVERS
In Isabelle Arvers’ series The Sea, abstract forms and landscapes are developed with the random movement of the sea or the waves in a game engine. A world of abstract patterns, which fold or unfold, matte or reflective, to test the possibility of creating “kinds of spaces” to quote Georges Perec’s book, aiming to modify the perception of observed movements. “The space dissolves like the sand that flows between the fingers. Time takes it away and leaves me only shapeless shreds: To write: to meticulously try to retain something, to ensure the survival of something: to snatch from the emptiness that digs itself out a few precise snippets, to leave, somewhere, a furrow, a trace, a mark or a few signs.” To this dematerialization of the object, these “image movements” respond to the abstraction of the image produced by the game engine. The sea becomes abstract, filled with glitches and its image is transformed into a series of fragmented polygons that stretch under the eye of the virtual camera.
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