Drifting apart as the little islands that we are, you may ask yourself
_What is bigger - the inner space or the outer?_

This project was inspired by the multitudes we keep within us. The harsh shadows and the combination of pure 2d rendering with a 3d effect mimic feelings of separation from the rest of the world. Their undetermined scale reflects the seemingly unlimited depths of consciousness.

_The Inner World_ starts its rendering from one or more circular cores representing the centers of our personalities. Each of these cores spawns various thoughts and emotions, flowing as tendrils through the scene, making connections among themselves or reaching for the outside. Their movement ranges from straight and orderly to (seemingly) chaotic, sometimes twisting the clean underlying personality center into a completely different shape. Two rendering styles (illustrative and shaded) with palettes ranging from cool, gloomy and serious to cheerful or dramatic reflect the variety of predispositions.

While waiting for the rendering to complete, look at the focus animation highlighting the circular cores of your piece. You're invited to spend this time pondering how everything you know, everything you have or will ever experience, and even the most majestic sights from stars to microbes fit into the space between your ears.

The Inner World

***"Ode to Untitled"***  is a culmination of inspiration from the color field and minimalist painters of the 20th century.  While my medium has changed from disc golf discs, to canvas, to digital canvas, to digital photography, and finally to code editor - the inspiration and output has remained abstract.  Seeing the works of Clyfford Still, Morris Louis, Agnes Martin, Barnett Newman, Mark Rothko, Ellsworth Kelly, Frank Stella, and Kenneth Noland (among others - hi Roy) seeded my desire to create visual art.

What many of these artists have in common, sometimes for differing reasons, was a fondness for naming their works *"Untitled"*.  Clyfford Still was entirely dedicated to this practice, while others came and went.  When other titles were used, often they were nondescript cataloging values or a rote description of the colors or shapes found in the work.  And, of course, abstract art history in general, and our current day, is littered with *"Untitled"* works.  Whether a desire to leave interpretation open to the viewer, not wanting to sully their visual work with words, a dedication to minimalism, or laziness - it's all fine with me.

While "Ode to Untitled" is not a direct reflection of any particular works, you will see influences shining through:  zips of color streaking across the canvas, an appreciation of the simple square and grids, a focus on texture, large fields of color, and a love of minimalism.  This one goes out to all the *"Untitled"* works.

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Ode to Untitled

Memories of relationships and love reflected through color. Bright Moments NY, November 2021. 10% of sales proceeds will be directed to the Art for Good fund to provide support for working artists.

Reflection

Flowing in life, overwhelmed by colors.
Staying afloat, one step at a time, in a sea of details.
When dancing in a storm of changes, pause for a second.
Too much of a good thing, is still too much.
Take a step back, breath, and thank the universe.

Saturazione

Initially worn by miners and cowboys, roughly half of the world’s population wears denim on a given day, and the range of styles is–literally–endless. A new pair of jeans might be acid bleached, sandblasted, stonewashed, or tie-dyed; it can have hand-sanded rips and tears, followed by visible mendings, patches, intentional paint stains, and more. In an epic attempt to crack the genetic code of denim, Jenim playfully but carefully observes and translates the warp and weft of denim into generative code, weaving unique iterations of irregular, distorted, or hyper-realistic textile crops.

Ironically, imitating aging, a pair of jeans produced today generates more pollution and labor than most average garments. In response, Jenim’s minted iterations go beyond wearables and into infinity. Each year that passes, the color might fade slightly; the rips might expand. Who knows what these artworks will look like ten or even fifty years from now?

Art Blocks Presents

Jenim #12

Orr Kislev & Alona Rodeh

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