In Jay Delay’s latest cryptoart piece the process of digitally deflating Jeff Koons’ so called “inflatable” sculptures has produced a digital image that not only depicts the act of deflation frozen in time, but the Art also deflates in value over time...an ingenious and inventive design project created as a virtual art object. The 18’ inflatable bird sculpture, which was part of the 2010 and 2013 New York edition of the popular Museum of Modern Art’s “Art in Embassies” series, is now resolutely deflated in an image created by Jeff Koons during the deflation process.

THIS is no inflatable balloon.

With each still image of the gifs, the balloon is “deflating” from a 360 degree view but some images are of the deflating in reverse, giving rise to strange images in which the balloon has now risen and inflated in a manner not previously seen.

In the end, the balloon seems to assume a more organic nature, never really losing its inflated shape.

The “Art” is created from the perspective of the spectator, not the creator, viewed from a first person perspective. By this method the viewer is able to “experience” the deflation as the balloon deflates.

With the balloon deflated, the physical nature of the objects become more apparent as you examine the image on a computer screen.

During a re-creation of the artwork, a camera mounted on a tripod was used to capture the deflation of the 18’ balloon. In addition, Jay Delay then edited the images to “float in the ether” to create a narrative which shows the success of an art installation with its built-in commercial value

Jay Delay, an independent artist and developer, created a series of works using 3-dimensional computer generated models combined with still photographs, or still image sequences which have been manipulated, in the artistic manner. This kind of creation is a major departure from conventional three-dimensional digital compositing techniques which usually involve hand animation or a live-action video sequence. He believes that “the combination of digital art and manipulated still images creates a very direct encounter between the digital and the analog, hence the title.”

The deflating inflatable bird sculpture was one of the most successful pieces in the MoMA version of the show, sold for a then record price of $400,000 (USD), from the MoMA’s holdings to an undisclosed buyer in Japan. It was reused by Koons as a store display at his exhibition at Grand Palais in Paris in April 2013. A number of enquiries have been made to the Museum of Modern Art and others in relation to the project.

Curator Laurie Boughton has suggested that the idea for the project may be to re-balance the inflated value of Koons’ ballooning art, “it is possible that the balloon, which only floats so that its steel cable can be wound tighter, may eventually burst and deflate. It is also possible that in time, as the balloon deflates, it will cease to look as valuable as when it was inflated, or maybe not.”

The images created by Jay Delay are the only known digital image of this particular deflation. In addition, his work has recently been exhibited in a series of videos of the artists manipulating computer generated images to make them appear as 3D objects in a specific, abstract and possibly spontaneous environment. The video titled Adam’s Rib, which is about to be exhibited in the art world is another deconstructive digital work which deals with the myth of the fallen angel and the male and female elements of the body. It deals with both the physical and the spiritual aspects of sex and life and is very funny.

Jay Delay explains that the images were created using an algorithm developed by him, the LiveColoring (also known as Argon or Automata), which was based on the art of Ken Ritman. This kind of 3D sculpture in which the control parameters of each element were independent, allowing the creation of a controllable 3D environment, as opposed to a fixed model, had previously been created in a program called Rhino by British artist Jonathan Yeo.

The work that resulted from Jay Delay’s editing process has been exhibited in many museums around the world. The new work is now also being shown in the Yerba Buena Center for the Arts in San Francisco, California, which houses a major and important collection of video and digital art, and is an important centre for the ‘New Media Art’.

The inflatable sculpture was a custom-made “glory balloon”, designed and built by Seattle, WA, artist Tim Shaw. Shaw is considered an innovator in balloon arts. The character of the balloon in the sculpture is reportedly based on a real bird – the American White Pelican. It is said to be a very large, powerful bird, nearly 70 pounds in weight and about 40 inches in wingspan. The pelican is native to the coastal waters of the Gulf of Mexico.

The sculpture was inflated with a specially designed pump, and left in a dust-free environment overnight. During the night, it was deflated by pulling on a long white rope which was attached to the base of the balloon.

This project was the first time that this type of inflatable sculpture was so extensively manipulated. It is also the first time that a balloon sculpture was so extensively manipulated in digital 3D space. The final result shows the balloon deflating and shrinking to about 10% of its original size.

The inflated balloon sculpture measures approximately 2 feet in diameter and is made of 1,200 feet of custom-made, woven nylon line.

The sculpture had a balloon that weighed approximately 6 pounds at the time of its deflation. The sculpture measures approximately 2 feet in diameter and is made of 1,200 feet of custom-made, woven nylon line.

The balloon was inflated with a specially designed pump, and left in a dust-free environment overnight. During the night, it was deflated by pulling on a long white rope which was attached to the base of the balloon. The sculpture was deflated by pulling on a long white rope which was attached to the base of the balloon

This project was the first time that this type of inflatable sculpture was so extensively manipulated. It is also the first time that a balloon sculpture was so extensively manipulated in digital 3D space.

The process creating the images looks like the process of blowing up a balloon to create a soft image. It involves taking an image of Koons’ sculpture inflated and then deflating it using the 3D repository for scientific data, the National Institute of Standards and Technology (NIST).

The process starts by taking an image of the piece on a computer, which is then transformed into a virtual balloon. Once the balloon is created, a bespoke program determines the deflated size and shape of the balloon. Once the shape is determined, it is then shrunk down and manipulated until the piece becomes an inflatable.

As Koons’ Balloon Dog sculpture begins to deflate and shrink, it appears as if the image of the balloon is deforming and the pixelation is blurred over time. This process of inflation and deflation is not only a physical process, but a digital one as well as the deflation of the image is captured digitally.

This process looks like the process of blowing up a balloon to create a soft image. It involves taking an image of the piece on a computer, which is then transformed into a virtual balloon. Once the balloon is created, a bespoke program determines the deflated size and shape of the balloon.

Drawn from Koons’ recent artistic practice, the piece is the latest in a long line of digital artworks that have been created using the algorithms of the digital art community. An art piece is not only a canvas for the artist but also a platform for the community to express itself and is often monetized as a result of the work being sold through a gallery.

The piece is called The Massive Inflatable and was created using the ARPANET, internet standards and protocols at the time of its creation. In the piece, the artist creates digital images of deflating sculptures from the body of the sculpture, creating images of deflation, or the act of deflating the sculpture, perhaps with the hope of provoking the viewer.

For Deflationary Art #7, the artist took a Digital X-Acto knife to Koons’ inflated sculptures and digitally deflated them in order to put a human and economic spin on his motif of an inflated object.

“When I was doing it, I was so curious how it would feel like deflating a balloon,” said Delay . “It’s like the candyfloss that you eat on the fairground. You have this really heavy feeling, and then it gets smaller and smaller and then you pop it.”

The result is not only a fascinating critique of the figures of capitalism, but also a commentary on the deflationary and commoditization of culture in modern society. As the artist explains: “The deflation of the piece is one of the bigger cultural changes that we’ve seen lately. We’ve had this inflation that’s caused a lot of problems, but also I think that in some ways it’s more interesting.”

The piece is also being auctioned off on eBay and will be displayed at L.A.’s Deitch Gallery in a one-man show entitled “The Art of the Digital.” So far the piece has raised over $3,000 of its $9,000 asking price.

The piece is currently up for auction on eBay for $9,000, and will be on display at the Deitch Gallery in Los Angeles, California from June 7 to July 15.

“I’m a big fan of Jeff Koons, and I had an idea for a project based on his Balloon Dog series. I wanted to explore the concept of the deflationary value of the sculptures, and I wanted to find a way to make these things deflate in value over time. I thought about the best way to do this and that’s when I came up with this idea of “valorizing” the objects. A valorization is the act of a valuation created by a certain value placed on a certain object. Let’s say you put a penny on top of a penny, and then you go out and sell it for a dollar. The penny is now worth a dollar. A valorization is an auction of a certain value placed on it. The valuation of a Balloon Dog is based on its perceived value. The deflation process is the valorization process.”

Jay Delay is a conceptual artist that works with digital media and digital processes. He is an alumnus of the Mississippi Institute of the Arts and is currently a lecturer at the University of Southern Atlanta. He currently lives in Nashville, Tennessee and has won numerous awards worldwide for his art.

Jay Delay’s Balloon Dog deflation project is now available for viewing on his official website which is a dead link to an old Geocities page.

GPT-2