Computation is one of the most powerful tools for our age. It opens up a whole world of possibilities. Some people use its power to solve the mysteries of our universe through science. I’m using it to explore our relationship with beauty and perception.

“Miragem” *(Mirage in Portuguese)* is a generative project that requires your slow attention. It’s an exploration of rhythm, balance, and texture. Just simple elements in a coordinated dance, ruled by math and randomness.

**It’s an invitation for the eyes and mind to wander.**


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>> ## “Beauty is the mystery of life. It is not in the eye, it is in my mind. In our minds there is awareness of perfection.”
>> Agnes Martin

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*Please check the project website to know more about the composition and features.*

Miragem

This series explores color in layered intersections. The unique hash determines the procedure of each traversal; endpoints, divergences, elevations, and color immersion. Left click or press any key for coruscation.

Traversals

«Ottocento» is a collection of generative portraits of fictional historical figures. The series starts by exploring the nuances of the male figure as represented in the 19th century («Ottocento» in Italian). Further chapters of the project, focusing on different identities, are planned. The illustrations, drawn by hand and then converted to digital, constitute an ironic portrayal of the society of that era. The portraits, all in the same three-quarter view, reference the typological projects of German photographer August Sander.

Individual features and expressions are combined through the controlled randomness that generative art affords, deliberately blurring clear visual distinctions between nationalities, roles, and social classes. The result is an «Esperanto» of human types with an uncanny familiarity. Is that a poet? A salesman? An aristocrat? A farmer? Unlike Sander’s project, «Ottocento» doesn’t force any labels on the characters, eventually leaving the interpretation open to the viewer.

Ottocento

Faceless is inspired by the refugee and immigrant experience. It pays homage to the individuals that have helped over 25 million refugees flee their homeland to find peace and safety elsewhere. Oftentimes, as was the case with my family, it takes the bravery and generosity of a community of individuals, some whose faces will never be known to you, to have the opportunity to reach true freedom and safety. Faceless aspires to share a story of displacement and resilience with the world, and, in turn, give back to the communities that help people in their most critical moments.

Focusing on 2D silhouettes, Faceless is inspired by the Bauhaus designs of the 1920s and illustrates raw human form in a reimagined, colorful, and familiar way. Each output includes faces that are uniquely mapped onto the canvas, meaning no two works will feature the exact same silhouette. Silhouettes are arranged, colored, scaled, and distorted to remind us of the diversity, beauty, and pain that can be found in each unique story.

Faceless

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 #97

Orr Kislev & Alona Rodeh

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