An exploration in visually representing chaotic systems found in nature big and small. Entropy looks at the beginnings of the universe and the emergent structures that takes shape as fundemental energies coalesce into atoms, producing recognizeable patterns. Within the chaos there is beauty.

Signature works are curated by hand from thousands of generations of my algorithmic code. I select them in batches of 12 editions, each batch having a unique criteria intended to uncover distinct expression of emegence. Each one is processed to bring out their uniquely vibrant characteristics and printed using archival pigment ink at 16x20″ on a 17x22″ premium luster sheet.

An animated flowing composition of abstract forms, each moving independently yet contributing to a shared rhythm. Like organisms in a delicate ecological balance, some seem to guide while others follow; some provide structure, while others bring movement. Together, they create a dynamic system where individual elements coexist and evolve, reflecting the quiet harmony found in nature’s most intricate relationships.

Works are being curated into a series of realtime in-browser animated works, as well as being captured in 3D video format to span a full 24 hour cycle. The video collection will be put on a Looking Glass Factory Portrait stereoscopic 3D display and made available as a standalone installation work for shows and galleries.

As part of the Art Blocks x Pace Gallery partnership, I was contracted to work with Loie Hollowell to develop code that would adapt elements of her Split Orbs paintings into a digital long-form generative collection. Working under her technical and creative direction, I adapted many of my code art techniques to best represent a digital representation of the aesthetics found in her physical works. Digital Practice Art produced and managed the project.

During a particularly frustrating period when I found myself immersed in client work under conditions that fragmented my attention, leaving me with a lack of clarity, my life felt chaotic and imbalanced. It was during these challenging times that my urge to create took over, leading me to explore a disruptive algorithm. By distorting, twisting, shredding, and fracturing a typical domain space from various overlapping perspectives, my algorithm transforms a simple render of a 3D torus in space into fragmented chaos. I allowed the algorithm to breathe, intervening only when absolutely necessary to ensure its functionality as a long-form generative release. This marked my first venture into rejecting the expectation of segmented outputs to produce easily identifiable features. Ultimately, this decision deepened my understanding of the fundamental qualities of generative art and stands as one of the works I am most proud of.

Conceptually, this project began with a desire to creatively interpret quantum field theory by illustrating it as a series of energy fields that interfere constructively or destructively under observation, yielding the colorful flows seen in the artwork. As the project progressed, an ethereal quality emerged that reminded me of experiences I have had while practicing meditation. Although I am not spiritual, I do feel an energetic connection to the world in these moments and felt compelled to share what I experienced in this collection.There are many ways one can practice meditation; using audio as an aid is a popular method. Soothing music, the rustling sounds of nature, the chimes of singing bowls, or low octave chants are among the many popular auditory aids. Elements common to all include a mix of constant tones, pleasing chords, overlapping octaves, and subtle variations over time. I drew inspiration from this when crafting the synthesized overlapping drones of audio.Interconnection is an important motif behind Flux, and thus I directly connected the visuals and audio by analyzing the rendered visuals to feed parameters directly into the waveform partials used in synthesizing audio. Additionally, each individual work in Flux is a representation of parameters in an infinite system; one set of parameters can seamlessly flow from one to another. Experience this in Flux Interconnected, linked in the footer.

Click the artwork after pressing play to hear the audio synthesis 👉

During the COVID-19 pandemic, governments and medical professionals globally endeavored tirelessly to safeguard lives, mitigate the spread of infection, and advance the development of a safe and effective vaccine. Despite these efforts, we observed an alarming rise in misinformation promoting anti-science rhetoric and conspiracies. Even more concerning was the politicization that ensued, as masses of individuals became disillusioned. Personally, I was disheartened, especially when confronting family members who succumbed to these easily digestible falsehoods.Unable to sway minds, I turned to humor as a coping mechanism. Upon uncovering a fascinating pattern, I decided to present it humorously as Quarantine, constructing a mock story featuring an unnamed scientist who stumbles upon a new disease that requires classification. Each element of the artwork was carefully labeled to weave a narrative.

Eight months after experiencing a layoff and facing the setback of a failed startup attempt, I found myself burnt out and in need of introspection. I desired a career path where I could channel my creative energy while ideally maintaining my independence. Fortunately, fate intervened, and through a colleague, I stumbled upon Art Blocks, where I encountered the captivating world of generative art being created and sold.With a modest understanding of blockchain and a recent fascination with generative art, I decided to experiment and see where it could lead. Thus, I embarked on a journey to learn P5, understand the mechanics of on-chain art, and develop an idea. Spaghettification emerged as a relatively straightforward concept, featuring wiggly tentacles, pulsating shapes, and a simple color scheme. Drawing inspiration from the scientific phenomenon of matter entering a black hole, the project took shape. To my astonishment, upon release, it sold out within minutes! This stroke of incredible luck marked the true inception of my art career.

My first generative artwork collection. Professionally, I had been working as a developer and technology supervisor, supporting artistic workflows in large production studios. I have always had a creative flair and yearned to explore it in my career, but the available positions and work conditions were not appealing. While delving into self-study of the Go programming language and learning about backend service development, I stumbled upon a drawing library.Nothing extravagant, just rendering simple primitives (squares, circles, triangles) in a variety of colors on a canvas. Playing with it, I found my creative spark had been ignited. Soon after, I began incorporating my own photography and introducing random variations to the shapes. I had discovered generative art as a medium, and I was hooked!