***"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

Mazinaw is about the timeless struggle to express our humanity and communicate the ineffable. The title derives from Mazinaabikinigan-zaaga'igan, an Algonquin word meaning “picture” or “writing”, alluding to the dual nature of pictographs. 

Inspired by my encounters with neolithic cave paintings in Europe and indigenous pictographs flanking Canadian lakes, Mazinaw hints at etchings, drawings, and anthropomorphic forms. While Mazinaw draws on expressionists from Wassily Kandinsky to Norman Lewis, it takes abstraction one step further: each piece is constructed by the artist indirectly, via a generative code, allowing the emergence of new undreamt-of forms.

The 19 palettes are inspired by the natural world, but their roles are sometimes twisted: cerulean blue strokes appear over an ochre canvas, and green flashes of light hop across a gray expanse. I invite the viewer to spend time with each piece, finding their own order from chaos. Signed fine-art archival inkjet prints will be available for owners at a modest cost.

Note: Mazinaw is best viewed in large format (full screen), or printed. Each piece has infinitely fine details, some of which will only be visible in print. Mazinaw renders seamlessly in any aspect ratio; adjust the window size and shape as desired, click on the frame, and type 'f'. 

Controls:

 s   -- save as png
 spacebar  -- pause/unpause
  f   -- toggle square / fit-to-screen aspect ratio
   1-6  -- set pixel density (default=2 on retina displays)
   +/-  -- increase/decrease pixel density
   n -- enable/disable night mode
   p -- enable/disable pastel mode

Mazinaw

Enchiridion is inspired by the Enchiridion Physicae Restitutae by Jean D'Espagnet which rejected the idea of the empyrean, claiming that all natural things exist in unity. This is represented through geometric forms which show structure, unity, and causation vs. the amorphous forms of Empyrean.

Enchiridion

Pixel Glass

Inspired by Dutch artist Piet Mondrian. Made with an interest in color theory and a love for color in general.

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