generative art v.s.
magnetic twist (199, 26, 12, 55, 191) 2014-15
26 -46 cm height, PLA print
magnetic twist sculpture work series, modeled using different alrorithmic based functions, such as: twist, noise, freeform, taper,…
printed in PLA, using makerbot replicator2 Details »
yet another surprising programming error result;
layering two different warps over each other,
with different color maps and different x-, y-noise values + some random holes, to fork into one another…
vector for print / made with code (processing) Details »
noisewave V, 2014-15 – another perlin noise based generative work series,
noise based rotating square shapes within a distorted linear row/column matrix.
using different color arrays forking into each other.
vector for print, made with code (www.processing.org)
using perlin noise to generate a bezier row matrix
vector for print
inspired by diana lange “homage à Long lost drawing”
http://www.openprocessing.org/sketch/147750
made with code (www.processing.org)
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image-noise-grid (2014-2016)
using perlin noise to generate an XY dot matrix, reading out layered image color maps with either random distortion of color and/or appearance.
random and/or manual layering and mixing of different color-map data…
made with code (www.processing.org)
the e-pastel TAR_GRID series consists of a X Y axis grid of bezier vector curves. a seperate vector curve class defines all vector properties such as color, transparency and/or stroke weight. to later position them within different grid arrays. different keyboard input values are used for a layered image build up; coloring, sizing, transparency, count and density of star pedals…
made with code (www.processing.org)
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“structural condensation” nov. 2013 (english version first)
looking back at my accomplishments over the last years, i recognise apart, from various formal approaches, a continous drive for structural condensation.
for structural condensation up to a point where the shapes begin to apparently depart from their usual meanings and are not clearly perceptible anymore.
In this structural void an entirely new pattern for composing comes into being – an abstraction of fissuring and reformation.
seen in a sober and technical manner, one may perceive the eternal balancing of meaning, magnitude, colours, shades and properties in order to make out a sound in this ravaged chaos.
most like to walking a tight-rope with concrete and depictive dynamics on one side and the white noise of ambientesque or tranceesque rhytmical harmony on the other.
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brick-warp series is based on a 2D perlin noise XY grid, where each rect gets ists values for rotation, x-size and y-size.
different generations are recorded on different layers.
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