The universe in which we exist is an ever changing ebb and flow of energies that coalesce into observable patterns of repetition and harmony. By practicing mindfulness one can observe their part in this universal flux and achieve a powerful sense of connection to the whole.

Click / Touch to begin the audio-visual experience.

Flux

Launched into crypto-space for the first time, I present my genesis project, a limited series of interactive 3D structures, rotating endlessly from their self-gravitational force. Each token minted is the result of a complex set of rules, an algorithm that processes the transaction hash and generates a unique piece of crypto-art. Purely written in JavaScript, using no external libraries or dependencies of any sort, these voyagers will forever be the testimony of hardcoded workmanship, a heritage of the old times. Deep space, do you copy?

Ignition

Chimera is a mutation, its genetics a merging of past and present. 

New creative mediums almost always ingest those that came before. Pictograms and hieroglyphics turned into paintings, which eventually became moving images and photoreal graphics. Spoken words evolved into written text, eventually becoming complex screenplays, computer code, and a world of hyperlinks. Most mediums are not discarded, but combined or extended to incorporate new technology or ideas. 

When a new medium comes into existence, the capabilities of both the artist and viewer increase. The potential subjects within said medium can grow in complexity as well, some fully dependent on the medium that holds them. Other subjects are timeless, popping in and out of multiple movements and genres throughout history. An example of the latter is still life. From ancient carvings through contemporary art, scenes of commonality, beauty, and metaphor have persisted. Traditionally viewed as a type of technical practice or meditation (the bottom of the “hierarchy of genres”), some examples of still life have gone on to be among the most important works in art history. 

Chimera is a natural progression of still life. It is an old tradition in the very new medium of on-chain generative art, a movement that will have an enormous presence in the future. Chimera simultaneously reaches into the past while exploiting the capabilities of the present and seeks to represent a unique moment in time, a generation of art in between digital and physical realities, encapsulating where we came from and where we are going. 

NOTES:

Chimera is graphically intensive. Modern hardware is recommended. Ensure that your browser has hardware acceleration enabled.

The charitable portion of this release will be donated to various cancer research efforts.

CONTROLS:

“A”: Toggle animations
“R”: Toggle autorotation
“C”: Capture screenshot
“H”: Capture HD screenshot (CPU intensive) 

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Thank you to all that participate in, share, or otherwise support this release. It means more to me than I can say.

Chimera

The essence of all things digital is– the bit. One or Zero. On or Off. Where digital becomes analog. This piece pays tribute to our digital legacy of 8-bit color and 7-segment LED displays– technological limitations which are mirrored in the constraints of putting art on the blockchain. Although the image represents the art, the art of the token itself is the code– which renders everything bitwise, pixel by pixel, all contained within 27-bits of information.

27-Bit Digital

“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.

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