COMO&HAPPY SCREEN_SEPTEMBER 2018 《Sliding Landscape》
2018. 09. 14 - 2018. 10. 31
Exhibition Venue & Open Hours
[ COMO SCREEN ]
SKT-Tower, Euljiro 1-ga Exit no.4 / Daejeon SKT Dunsan Bldg
08:30 ~ 19:00
[ HAPPY SCREEN ]
SK Bldg 4F
09:00 ~ 18:00
*Closed on weekends and public holidays
Artist Angela Ferraiolo
Organizer Art Center Nabi, SK Telecom, SK Innovation
Inquiry 02 2121 0907
< Exhibition Statement >
In
this September, COMO & HAPPY SCREEN 《Sliding Landscape》 exhibition introduces Angela Ferraiolo's The Knife Cuts Two Ways, No.1, which expresses the city's skyline
landscape through constantly moving and changing elements in the animations.
The Knife Cuts Two Ways, No.1 is a work based on a
generative algorithm that continuously reflects the large and small changes in
the formative elements of color and pattern in animation. Colorful lines and
shapes, flocking movements of large and small spheres composite the work and resemble a painting as a whole. Variations and alterations are made in various patterns
and colors in harmony, but the elements are constantly changing and moving fluidly. The work, which is filled with small and constant changes,
seems to depict the landscape of the city with a complex and diverse change.
The urban skyline composing of the constant lines, the neon sign of the
brilliant city night, and the daily life of the modern people, seems to be
reflected and expressed on the artwork through the impression of bright colors
and continuous movements that is unique to the work.
In
the middle of two seasons, summer turning to autumn, COMO & HAPPY SCREEN 《Sliding Landscape》 is pleased to present The
Knife Cuts Two Ways, No.1 by Angela, hoping to provide an opportunity for
the audience to look back on the daily life of a rapidly changing city while
living in the seamless and borderless passage of time.
< Artwork Description >
The Knife Cuts Two Ways is inspired by the
bright colors of pop culture, movies, and comic books, but also by the
seamless, borderless picture planes of scroll painting and the shimmering neon
skylines of cities like Seoul. The title of this work refers to the two natures
of the urban screen. The contemporary city is the field of commerce and mass
messages, but also a point of erasure between art, media, and architecture.
Outside the 'white cube' of gallery space, the urban screen 'cuts through'
distinctions between art and commerce and high and low culture.
Knife is composed of about fifteen drawing
agents. A sliding plane is the main organizer along with a series of thin
rectangular wipes, filled beziers, and sweeping curvilinears. These units have
palette constraints based on their segment group, but are able to control their
own color within those ranges. For some agents, motion is dictated and used as
distinguishing feature to be repeated across a group of segments or across the
work as a whole. In other cases, trajectories are the result of steering or
flocking behaviors and are intended to create emergence in pattern. One or two
agents move noisily or randomly.
Though the piece is modular, specific
visual ideas are repeated across all segments in order to give the work enough
visual coherence to be screened across multiple buildings, floors, or similarly
disjointed locations. Some animation agents are related by specific behaviors
while others are used to generate variation and difference within visual
segments. One objective of the design was to generate all channels of the final
work from a single set of classes, in other words to create a system that would
allow a range of visual exx-pressions as its manifestation of state.
Computation is ongoing. Once color ranges,
position constraints, and base shapes are parameterized, each segment is left
to itself. From then on, position, velocity, the spatial relations of forms,
color, and backgrounds are the results of agent updates.
Angela Ferraiolo, The Knife Cuts Two Ways, No. 1
(2017), Generative algorithms, Dimensions variable.
< About the Artist >
Angela Ferraiolo is a visual artist working with systems, noise, randomness, and generative processes. Her work has been screened internationally including SIGGRAPH (Los Angeles), ISEA (Vancouver, Hong Kong), the New York Film Festival (New York), Courtisane Film Festival (Ghent), the Australian Experimental Film Festival (Melbourne), and the International Conference of Generative Art (Rome, Venice). New projects include further experiments in systems, urban screen, generative art, and ambient media.
http://littleumbrellas.net/
<Artist Statement>
For
a long time, I've been interested in the ways computer code might be used to
create and generate color. I wanted to try a work that was inspired by the
bright colors of pop culture, movies, and comic books, but also by the
seamless, borderless picture planes of scroll painting and shimmering neon
skylines of cities like Seoul. The Knife Cuts Two Ways, No. 1 uses
flocking algorithms and a network of unit signals to create motion, overlays,
and gradual, weightless shifts in color and shape. The idea was to achieve a
sliding landscape of small, complicated variations, a dense surface that uses
tiny alterations to continually surprise. An initial set of algorithms was
based on ideas from computational geometry and took several weeks to complete.
The final multiple variations are the result of a few more months in the
studio.