Thomas Lin Pedersen

Screens have been at the heart of art mass production and mass consumption for ages. From screen printing techniques, first developed in China around 1000AD and later popularized in western art culture by e.g. Andy Warhol, to the screens on our devices used to consume both digital art as well as most traditional art we experience in our life.

The "Screens" series is a celebration of modern art. It is inspired by the aesthetics inherent in screen printing along with the compositions and colors of both Bauhaus, Constructivism, and pulp fiction sci-fi covers.

The compositions in "Screens" is based purely on strict geometries and plays with the tension, and symphonies that can be created from combining simple rules. The end result can range from chaotic non-figurative to strongly ordered isometric scenes.

The generative system underlying the rendering mimics the screen printing process by rendering and applying a single color at a time to a master image. Each virtual screen may be more or less aligned with the master, creating a lovely flawed balance to the precision of the rendered geometry.

25% of the proceeds from this project will be donated to Den Blå Planet, The Danish National Aquarium, in support of their work on preserving and restoring marine life and ecology.

Screens

Rapture is a series exploring magical seals overflowing their boundaries, gradually dissolving into the surroundings. It is imagined as abstract iconography for a fictional mystic religion. Rapture is the conclusion of a system I have been working with and perfecting over several years and it is the first time that it is presented completely autonomous. The series consists of computationally heavy art pieces, with calculations happening while the seal shake to contain its powers. 25% of the proceeds from this project will go to the preservation of the Ecuadorian rainforest Bigai through Randers Rainforest Wildlife Foundation.

Rapture

*Inprecision* is exploring the tension between the precision offered by computers and the imperfections inherent in classic art production approaches. The generative system is based on circles and triangles, perfectly aligned with each other and placed on a grid, but rendered with a technique inspired by the look of water color giving a high degree of imperfection in the rendered output. The precision of the underlying system is then again accentuated by a layer of hyper precise line drawings, outlining the used geometries and providing a scaffold for the underlying colors.

*Inprecision* further builds upon my quest to explore emergent compositions in generative systems. The system started with completely random placements of the different geometries, and gradually evolved by putting in the most minimal constraints to ensure an engaging final composition. In that way, *Inprecision* is an exercise in light-touch control with the aim to explore surprising compositions arising from randomness.

This series takes inspiration from both the color and line work of Wassily Kandinsky and the theories in the Suprematism movement. It asks the viewer to meditate on the texture of the paint and paper through its embrace of simple geometry and compositions devoid of literal interpretation.

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Thomas Lin Pedersen