Memories define us. Made of countless fragments, they are an ever-changing snapshot of our past. Frammenti is a digital explosion of life, inspired by our most personal treasures.

Frammenti

“Fragments of an infinite field” is a compositional system in which an idealized plant species is generated and arranged in a potentially infinite field of foliage. The main environmental parameter of the composition is the determination of a season of the year. The season determines the landscape’s colors and defines specific phenomena for each of them, such as rain in summer, snow in winter, petals falling in autumn, and pollen in spring. The flower has several possible variables, which can be macro aspects, affecting the entire population of the species, or micro, affecting each individual of the species differently. For example, the number of petals can be equal in all individuals or not. The number of filaments and other structures of the flower can undergo minor deviations, generating small mutations. The confusion between the figure (plant) and the background (earth, sky, other natural elements) is fascinating from a compositional point of view. The background colors are, most of the time, colors present in the figures, often breaking the boundary between them and, therefore, generating chromatic masses. In this project I also intend to research the following question: How to create parameters that resemble a living organism's growth? In this sense, the project approaches digital morphogenesis and the development of procedural organisms.

Fragments of an Infinite Field

Inside the computer there’s a digital hand. The hand selects a metal implement, cuts off a slab of clay, and carves into its surface. It wanders like your hand wanders; it carves imaginary contours, sinuous and exploratory. It doesn’t know the end result so it carves lines until it feels content, and then it numbers the piece and stamps its maker’s mark. It fires the slab in a digital kiln (it calls this “minting”) and through this act its art is preserved for millennia. The hand runs its fingers over the textured surface, feeling satisfaction at having spontaneously produced a piece of art so beautiful, expressive, and unique.

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Ceramics is a generative sculpture that mimics the physical expression of carving into clay. Through uncanny naturalistic rendering it challenges our notion of “handmade”. It asserts that the value of handmade isn’t the time it takes to make the work nor the physical materials consumed, but the endless small decisions and serendipitous details that appear along the way, as can be felt in each Ceramics mint.

Despite the handmade nature of Ceramics the outputs cannot be touched. Highly tactile images enchant the viewer to imagine their tangible representations, and leave them to dwell on their perception of materiality — both in the experiential physical world and conceptually-infinite digital space.

Ceramics

Memories of Qilin is inspired by traditional East Asian art. It channels the sense of movement and fluidity found in classical Chinese brushwork, while drawing from the colors, patterns, and forms of ukiyo-e woodblock prints. 

The series explores elements of folklore, evoking the mythological imagery of dragons, phoenixes, flowers, and mountains.  The title references a fabled chimerical beast found throughout East Asian mythology (while the qilin is its Chinese name, it is also known in Korea as the girin and Japan as the kirin) that represents prosperity and luck.

Viewers are invited to interpret elusive forms that verge on representation. As with the stories passed on through generations, each piece is imagined, organic, and ever-in-flux.

Memories of Qilin

LoVid’s signature video work mixes handmade analog synthesizers with digital tools in immersive Red, Green, and Blue (RGB) compositions that celebrate luminosity, chaos, relationships between craft and engineering, and connections between body and tech.
 
Tide Predictor, LoVid’s first onchain generative work, builds a bridge from video synthesizer patches to algorithmic code-derived imagery. This collection is formally and technically inspired by hardware-based image generation, and places experimental moving-image, circuit boards, and electrical signal-based video art at the conceptual roots of generative art.

Tide Predictor is a modular video synthesizer patch model, designed to reflect the analog spirit by working with three channels: RGB. Tide Predictor reimagines NTSC-encoded, oscillator driven electrical current based video synthesis while adding digital randomness/unpredictability, and transformations based on code, along with each mint’s unique content.
 
In the late 19th century, mechanical analog computers used rhythm and repetition to anticipate the rise and fall of water levels. In addition to “tides”, which are low frequency oscillations of the ocean, higher frequency changes or “waves” are frequently discussed in reference to both water and electrical signals. By working with looping - and explicitly addressing the period (=1/frequency) for each RGB color - Tide Predictor extends analogies between the flow of water and the flow of electricity.

LoVid’s Tide Predictor brings these relationships from the blockchain, through your screen, straight to your retina!

Art Blocks Curated

Tide Predictor #256

LoVid

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Frammenti

Stefano Contiero

Fragments of an Infinite Field

Monica Rizzolli

Ceramics

Charlotte Dann

Memories of Qilin

Emily Xie

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