*Arcadia* is a homage to the fridge-worthy landscape art of our youth. Childhood techniques of creating art are re-imagined by the scribbles of a nostalgic, computer-assisted mind.

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Arcadia

Darwin’s Orchid wasn’t discovered by Darwin, but he correctly hypothesized that its long blooms, up to a foot and a half tall, coevolved with a moth with a very long tongue—just long enough to extract its nectar. This flower embodies the great variety of and fascination with the orchid family. Orchids come in all shapes, sizes, colors, textures and scents—perhaps this is why they’ve entranced cultures dating back well over five millennia, becoming symbols of virility, beauty, peace and prosperity in the process. Named “Cattleya” after my first rare orchid, this work is my Ode to Orchids—a mystical flower that brings me endless delight.

Read more about my [inspiration & process↗](https://bensnell.medium.com/7c943673d54f)

*Notes:*
*— This project is intended to be run on modern devices, operating systems and browsers. Older ones may yield undesired or undefined behaviors.*
*— This script includes a modified version of [glsl-fast-gaussian-blur](https://github.com/Jam3/glsl-fast-gaussian-blur), licensed under the MIT License (MIT) Copyright (c) 2015 Jam3.*

Cattleya

"Foliage" is a moment of pause. The project is born from the futile attempt to catch a breath of wind, the one that no one sees but everyone notices when the leaves hang trembling. Inspired by long days near the Rio de la Plata studying the wind, this series of 250 foliage is an exploration of how angles and colors can generate the illusion of movement and harmony. "Foliage" is inspired on wind data visualizations where the use of angles and vectors speak of a trajectory. Winds, like data, travel through our world leaving a trace;  this time hosted immutably on the Ethereum Blockchain.

Foliage

What lies between everything else? A reflexion on scale, shapes, the infinitely small and the infinitely big.

Void

***"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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Art Blocks Presents

Arcadia #57

Zachariah Watson

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