Synapses is a generative study on movement and texture. Thousands of particles flow in space leaving a trail of their journey. the movements are inspired by swarm behavior and flocking mechanism. The trails when left by each particle resembles the graphite or carbon smudges on the white canvas. The particles follow either single or multiple vectors to create these intricate details.

Synapses

Endless Nameless is an exploration of composition. We start with a square. The square is divided into sections. The sections are filled with color pairs. Sometimes all colors are used. Sometimes fewer colors are used.

Endless Nameless

_Act of Emotion_ investigates digitally-facilitated abstract expressionism: the act of painting itself as a means of expression, extended into mechanical reach.
A reflection upon the future of automation, machine consciousness, creativity, and humankind’s inevitable consequences. As we await the next leap, we cling desperately to our belief that emotive art is an exclusively human experience. 
Inspired by those that came before—pioneering expressionists and contemporaries alike—the system engages in new methods of painting, free from traditionally accepted physical boundaries and artistic expectations. Action painting for the Connected Age; the system is in perpetual concert, recited in real-time and on-demand. 

Questioned by Colin McCahon, and recontextualised here through a generative lens: 
_How to make a painting beat like, and with, a human heart._
The machine’s movements are precise by default, grounded in mathematics. Organic expression must be introduced by twisting and destabilising; a process of broadening bounds that probes the subconscious of both artist and audience. 

Confrontingly minimal abstract compositions highlight the tension between rigid mechanical precision and fluid human intuition. Striping and stippling, swooping and darting; noisy automatism contrasted with coded instinct. 
Gestural abstraction applied with simulation of brush and emulation of media. Presence discovered through colour, texture, light and space; the works emerge as physically-manifested in digital form. 

Are these painted works analogous to physical counterparts? 
Can a machine successfully emotionally connect through this practice?
Let us consider both the intent and the act that realise a painted artwork.

_“Painting is a state of being. Painting is self-discovery.”_ — Jackson Pollock

# Controls:
- **[spacebar]** Pause/resume exhibit
- **[escape]** Reset exhibit
- **[S]** Export a still image at the current render size
- **_Double Click/Tap_** to provide a human touch

# Automatic:
- Render resolution upscales with viewport dimensions. Future exhibits will enhance alongside hardware advance. 
- Playback cadence is hardware-dependent and downscales when limited by hardware. 
- "**Perpetual**" tokens continue their performance indefinitely

# Printing:

Generatively signed giclée print renditions available up to 36x48" / A0.

Act of Emotion

This edition of video artworks is the result of my research in video art from the 60s and 70s, especially early analog video synthesizers. These were heavy hardware machines capable of generating shapes and patterns from the ground up, with no external visual input. How could these machines generate such complexity by just manipulating electronic voltage? I decided to investigate this process. Although with modern technologies, Spectron shares the procedural logic with its analog ancestors.

Spectron

This project is a visual representation of realities that are out of phase. Interference patterns, colorful echoes, and emerging secrets are explored. Mathematical functions produce constant motion, but rarely, a peaceful scene resolves within the chaos. Click or press any key to pause. *Photosensitive seizure warning: These artworks contain flashing colors and moving patterns.