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.
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.
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.
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.