«ðð·ðŠð³ðºðµð©ðªð¯ðš'ðŽ ð³ð¶ð¯ð¯ðªð¯ðš ðŽð®ð°ð°ðµð©ððº, ð¢ð¯ð¥ ðºð°ð¶?»¹
In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.
Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.
After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.
Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfâdiscovery.
(1) ðð¶ð±ðŠð³ ð€ð°ð®ð±ð¶ðµðŠð³ ððð9000 ðªð¯ ð€ð°ð¯ð·ðŠð³ðŽð¢ðµðªð°ð¯ ðžðªðµð© ðð¢ð·ðŠ ðð°ðžð®ð¢ð¯ («2001: ð ðð±ð¢ð€ðŠ ðð¥ðºðŽðŽðŠðºÂ», ð. ðð¶ð£ð³ðªð€ð¬, 1968). (2) «ðð³ðªð§ðµðªð¯ðšÂ» ðªðŽ ð¢ððŽð° ð¢ ðµðŠð€ð©ð¯ðªð²ð¶ðŠ ð¶ðŽðŠð¥ ðªð¯ ðŠð¢ð³ððº ð·ðªð¥ðŠð° ð¢ð³ðµ: âð£ðº ð¢ððµðŠð³ðªð¯ðš ðµð©ðŠ ðµðªð®ðªð¯ðš ð±ð¶ððŽðŠ ð°ð§ ðµð©ðŠ ðŽðªðšð¯ð¢ð, [âŠ] ð¢ð¯ ðªð®ð¢ðšðŠ ð€ð°ð¯ðµðªð¯ð¶ð°ð¶ðŽððº ð¥ð³ðªð§ðµðŠð¥ ð©ð°ð³ðªð»ð°ð¯ðµð¢ðððºâ («ðð°ðµðŠðŽ ðµð°ðžð¢ð³ð¥ ð¢ ð©ðªðŽðµð°ð³ðº ð°ð§ ðªð®ð¢ðšðŠ-ð±ð³ð°ð€ðŠðŽðŽðŠð¥ ð·ðªð¥ðŠð°Â», ð. ðð¶ð³ðð°ð¯ðš, 1970). (3) ðð³ðŠð¯ð€ð© ðžð°ð³ð¥ ð§ð°ð³ «ð¥ð³ðªð§ðµÂ» (ðŽðŠðŠ ð¢ððŽð° «ðð©ðŠð°ð³ðªðŠ ð¥ðŠ ðð¢ ð¥ðŠð³ðªð·ðŠÂ», ð. ððŠð£ð°ð³ð¥, 1956).
Art Blocks Collection: Presents
Heritage Art Blocks Collection: Playground
Project Description: «ðð·ðŠð³ðºðµð©ðªð¯ðš'ðŽ ð³ð¶ð¯ð¯ðªð¯ðš ðŽð®ð°ð°ðµð©ððº, ð¢ð¯ð¥ ðºð°ð¶?»¹
In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.
Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.
After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.
Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfâdiscovery.
(1) ðð¶ð±ðŠð³ ð€ð°ð®ð±ð¶ðµðŠð³ ððð9000 ðªð¯ ð€ð°ð¯ð·ðŠð³ðŽð¢ðµðªð°ð¯ ðžðªðµð© ðð¢ð·ðŠ ðð°ðžð®ð¢ð¯ («2001: ð ðð±ð¢ð€ðŠ ðð¥ðºðŽðŽðŠðºÂ», ð. ðð¶ð£ð³ðªð€ð¬, 1968). (2) «ðð³ðªð§ðµðªð¯ðšÂ» ðªðŽ ð¢ððŽð° ð¢ ðµðŠð€ð©ð¯ðªð²ð¶ðŠ ð¶ðŽðŠð¥ ðªð¯ ðŠð¢ð³ððº ð·ðªð¥ðŠð° ð¢ð³ðµ: âð£ðº ð¢ððµðŠð³ðªð¯ðš ðµð©ðŠ ðµðªð®ðªð¯ðš ð±ð¶ððŽðŠ ð°ð§ ðµð©ðŠ ðŽðªðšð¯ð¢ð, [âŠ] ð¢ð¯ ðªð®ð¢ðšðŠ ð€ð°ð¯ðµðªð¯ð¶ð°ð¶ðŽððº ð¥ð³ðªð§ðµðŠð¥ ð©ð°ð³ðªð»ð°ð¯ðµð¢ðððºâ («ðð°ðµðŠðŽ ðµð°ðžð¢ð³ð¥ ð¢ ð©ðªðŽðµð°ð³ðº ð°ð§ ðªð®ð¢ðšðŠ-ð±ð³ð°ð€ðŠðŽðŽðŠð¥ ð·ðªð¥ðŠð°Â», ð. ðð¶ð³ðð°ð¯ðš, 1970). (3) ðð³ðŠð¯ð€ð© ðžð°ð³ð¥ ð§ð°ð³ «ð¥ð³ðªð§ðµÂ» (ðŽðŠðŠ ð¢ððŽð° «ðð©ðŠð°ð³ðªðŠ ð¥ðŠ ðð¢ ð¥ðŠð³ðªð·ðŠÂ», ð. ððŠð£ð°ð³ð¥, 1956).
Drifting #143
- äŸ¡æ Œç±³ãã«äŸ¡æ Œæ°éæå¹æééä¿¡å
- äŸ¡æ Œç±³ãã«äŸ¡æ Œæ°éæäœäŸ¡æ Œå·®æå¹æééä¿¡å
Drifting #143
- äŸ¡æ Œç±³ãã«äŸ¡æ Œæ°éæå¹æééä¿¡å
- äŸ¡æ Œç±³ãã«äŸ¡æ Œæ°éæäœäŸ¡æ Œå·®æå¹æééä¿¡å
«ðð·ðŠð³ðºðµð©ðªð¯ðš'ðŽ ð³ð¶ð¯ð¯ðªð¯ðš ðŽð®ð°ð°ðµð©ððº, ð¢ð¯ð¥ ðºð°ð¶?»¹
In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.
Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.
After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.
Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfâdiscovery.
(1) ðð¶ð±ðŠð³ ð€ð°ð®ð±ð¶ðµðŠð³ ððð9000 ðªð¯ ð€ð°ð¯ð·ðŠð³ðŽð¢ðµðªð°ð¯ ðžðªðµð© ðð¢ð·ðŠ ðð°ðžð®ð¢ð¯ («2001: ð ðð±ð¢ð€ðŠ ðð¥ðºðŽðŽðŠðºÂ», ð. ðð¶ð£ð³ðªð€ð¬, 1968). (2) «ðð³ðªð§ðµðªð¯ðšÂ» ðªðŽ ð¢ððŽð° ð¢ ðµðŠð€ð©ð¯ðªð²ð¶ðŠ ð¶ðŽðŠð¥ ðªð¯ ðŠð¢ð³ððº ð·ðªð¥ðŠð° ð¢ð³ðµ: âð£ðº ð¢ððµðŠð³ðªð¯ðš ðµð©ðŠ ðµðªð®ðªð¯ðš ð±ð¶ððŽðŠ ð°ð§ ðµð©ðŠ ðŽðªðšð¯ð¢ð, [âŠ] ð¢ð¯ ðªð®ð¢ðšðŠ ð€ð°ð¯ðµðªð¯ð¶ð°ð¶ðŽððº ð¥ð³ðªð§ðµðŠð¥ ð©ð°ð³ðªð»ð°ð¯ðµð¢ðððºâ («ðð°ðµðŠðŽ ðµð°ðžð¢ð³ð¥ ð¢ ð©ðªðŽðµð°ð³ðº ð°ð§ ðªð®ð¢ðšðŠ-ð±ð³ð°ð€ðŠðŽðŽðŠð¥ ð·ðªð¥ðŠð°Â», ð. ðð¶ð³ðð°ð¯ðš, 1970). (3) ðð³ðŠð¯ð€ð© ðžð°ð³ð¥ ð§ð°ð³ «ð¥ð³ðªð§ðµÂ» (ðŽðŠðŠ ð¢ððŽð° «ðð©ðŠð°ð³ðªðŠ ð¥ðŠ ðð¢ ð¥ðŠð³ðªð·ðŠÂ», ð. ððŠð£ð°ð³ð¥, 1956).
Art Blocks Collection: Presents
Heritage Art Blocks Collection: Playground
Project Description: «ðð·ðŠð³ðºðµð©ðªð¯ðš'ðŽ ð³ð¶ð¯ð¯ðªð¯ðš ðŽð®ð°ð°ðµð©ððº, ð¢ð¯ð¥ ðºð°ð¶?»¹
In these formal studies, geometric figures are cut, broken, divided, subdivided, colorized and finally «set to drift»² in an endless scrolling motion. The elements in each composition vary over time without ever reaching a final form.
Visual artifacts remind of analog electronics. Feedback loops undermine the accuracy of digital technology. As time passes, it is increasingly difficult to recognize the original composition: frame after frame, cycle after cycle, the image is dissolved into a landscape of liquid forms and oversaturated colors.
After having pursued harmony and balance, it is liberating to surrender and witness the carefully crafted compositions blend into a chaotic interplay of lights and shapes.
Drifting, la «dérive»³, is an ongoing dialogue with the machine, started as an exploration of an aesthetic system and turned into a journey of selfâdiscovery.
(1) ðð¶ð±ðŠð³ ð€ð°ð®ð±ð¶ðµðŠð³ ððð9000 ðªð¯ ð€ð°ð¯ð·ðŠð³ðŽð¢ðµðªð°ð¯ ðžðªðµð© ðð¢ð·ðŠ ðð°ðžð®ð¢ð¯ («2001: ð ðð±ð¢ð€ðŠ ðð¥ðºðŽðŽðŠðºÂ», ð. ðð¶ð£ð³ðªð€ð¬, 1968). (2) «ðð³ðªð§ðµðªð¯ðšÂ» ðªðŽ ð¢ððŽð° ð¢ ðµðŠð€ð©ð¯ðªð²ð¶ðŠ ð¶ðŽðŠð¥ ðªð¯ ðŠð¢ð³ððº ð·ðªð¥ðŠð° ð¢ð³ðµ: âð£ðº ð¢ððµðŠð³ðªð¯ðš ðµð©ðŠ ðµðªð®ðªð¯ðš ð±ð¶ððŽðŠ ð°ð§ ðµð©ðŠ ðŽðªðšð¯ð¢ð, [âŠ] ð¢ð¯ ðªð®ð¢ðšðŠ ð€ð°ð¯ðµðªð¯ð¶ð°ð¶ðŽððº ð¥ð³ðªð§ðµðŠð¥ ð©ð°ð³ðªð»ð°ð¯ðµð¢ðððºâ («ðð°ðµðŠðŽ ðµð°ðžð¢ð³ð¥ ð¢ ð©ðªðŽðµð°ð³ðº ð°ð§ ðªð®ð¢ðšðŠ-ð±ð³ð°ð€ðŠðŽðŽðŠð¥ ð·ðªð¥ðŠð°Â», ð. ðð¶ð³ðð°ð¯ðš, 1970). (3) ðð³ðŠð¯ð€ð© ðžð°ð³ð¥ ð§ð°ð³ «ð¥ð³ðªð§ðµÂ» (ðŽðŠðŠ ð¢ððŽð° «ðð©ðŠð°ð³ðªðŠ ð¥ðŠ ðð¢ ð¥ðŠð³ðªð·ðŠÂ», ð. ððŠð£ð°ð³ð¥, 1956).