Salon 32 // Roz Dimon, LoVid, Moritz Albrecht, Colin Goldberg

And let's go. Hello, hello, and welcome everyone to our Techspressionism virtual salon. I have actually lost count of what number this is because I didn't actually see what the last one was. So it's getting up there. I think we're almost at 30, right? Or right around 30, somewhere around there. 29, 30-ish. Anyway.

Davonte Bradley

We are at 32. Got it. Okay. So I was close. Yeah. Yeah, I know, right? It's been that long. We've done 32 of these already, or this is 32. But anyway, so this is a wonderful community of artists and creators and friends. Actually, we're all very supportive of one another. And I am your host and moderator, Davonte Bradley. Joining me today is our countless list of artists that are in attendance. It looks like there's 26 of you today. And then we also have Colin Goldberg, who coined the term Techspressionism over a decade ago, I think, at this point.

Davonte Bradley

And we have a couple of presenters lined up today. So the general format is going to be closer to how we used to do our salons last year, where it was kind of just a free-flowing discussion scenario. But we did have a couple of people lined up that wanted to present during this time. So we have Roz, Tali, Moritz, and is it Lily? Yes. And yeah, so during those presentations, I do ask that you keep yourselves muted for the duration of said presentation, just as a courtesy to the presenter.

Davonte Bradley

And save your questions for the end, and then we'll get to them. You can either drop them in the chat or raise your hand using Zoom's functionality. And yeah. So I know we're starting a little bit late at 2.15. So go ahead and dive into our presentations, unless somebody has anything to add before we do.

Davonte Bradley

Colin or Renata, anything? Did you want me to just give a quick intro on what Techspressionism is? True. Yeah. Sorry. I forgot about that. Okay. Since we have a couple people here for the first time, so maybe what I'll do is I'll just share my screen now that it's not the presentation that I set this up for. Are you guys able to see my screen? Yeah. It's working well. Okay. I'm going to just go to full screen here.

Davonte Bradley

All right. So, I mean, basically, this is, well, I probably should have shown this off the PDF, but, you know, Techspressionism was something that I came up with as a title for a solo show about 10 years ago. And this is the definition here that we've kind of been working with, an artistic approach in which technology is utilized as a means to express emotional experience.

Davonte Bradley

It's an outgrowth of Expressionism in the sense that it's based in part on Expressionist ideas through the lens of technology. So this is that show from about 10 years ago. And the essay for the show was written by a woman named Helen Harrison, who's our group advisor. And she's the current director of the Techspressionism Center. And she's the director of the Pollock-Krasner House and Study Center, which is where Jackson Pollock and Lee Krasner lived and worked in the 50s and 60s.

Davonte Bradley

So there's a bunch of sort of philosophical stuff associated with it. But basically, a lot of it has to do with the idea that, you know, technology-based work or digital art is as legitimate as any other type of work. Maybe part of it, the inspiration for this was based on the kind of response I got from a lot of the traditional artists. And I think that's what I'm going to talk about in a little bit. But I think that's where I think the most of the inspiration for this is based on the kind of response I got from a lot of the traditional art settings where as soon as they heard the word computer or digital, they sort of turned the other direction.

Davonte Bradley

And so, you know, it's been sort of gaining some momentum through the years. I'm just going to click through. But I'll paste the link in the chat to this presentation. Right now at Expressionism.com, we have a show up, which has, I believe, 95 artists from 26 different countries, which is kind of our first large-scale show. And it's a group exhibition online.

Davonte Bradley

And then, you know, it also relates in part to surrealism in that they had salons as well. And there was an ideological sort of component and a manifesto associated with it. And also to pop art in the sense that we also use commercial tools and techniques the way that the pop artists did in much of the work that digital artists or Techspressionists work. And then definitely very excited about this show that's coming up. And then definitely very excited about this show that's coming up. And then definitely very excited about this show that's coming up. In April, which is going to be at Southampton Arts Center. And that'll be our first physical exhibition. So that's Techspressionism in a nutshell.

Davonte Bradley

I'll paste that link in the chat too in case anyone wants to download that stuff. That's pretty much it. All right. Thank you so much, Colin. And if you are also just curious about the movement, you can also just visit www.Techspressionism.com and check us out. Or follow us on Instagram at hashtag Techspressionism. And you'll find and see a lot of people that either identify with the movement or are part of the movement itself.

Davonte Bradley

So there's that. And that being said, I think Roz, you have the floor.

Thanks. Thanks for the intro. I also wanted to add that there is a, if it wasn't said, there is an interview section on Techspressionism, which is pretty interesting. Where some of us have interviewed each other. And it's just a great way to get to know other artists. I'm going to share my screen. Hold on just a second.

Roz Dimon

Desktop one. So I picked. Can everybody see my screen? I'm going to share my screen. Darkness. Yep. Your screen is visible. Okay, good. Oh, I forget everyone's muted. Well, Merry Christmas and Happy Hanukkah. And you can always attend on Roz to come up with a theme that isn't maybe appropriate for the time. But I actually think it is. And today I've shared with you before. But today I just, I wanted to share some pieces.

Roz Dimon

That. Well, they exemplify the fact that black and white is not just a simple thing. I mean, mixtures of black and white darkness and light. I'm thinking about these things a lot during the season as someone who's worked with technology for many years, mostly by accident since 1984 when my paintings filled with pixels.

Roz Dimon

But also I'm an interfaith minister and the spiritual aspects of. Of that are a big, a big part of my life. And during this. Season where the pandemic seems to continue to lay a cloud on things. And I don't know these kind of happy, supposedly happy seasons are always full of darkness as well as light. Anyway, I just want to speak a little about a series.

Roz Dimon

That I've done in the past few years and I'm there about guns and I've done quite a few works about weapons. Beginning with a. A. Safety pin where I questioned. Will this safety pin. Men. Him or will it come. Will it prick. There's always paradox in these words. And I recently read call you something to call you and said, where he said, we do not become enlightened by imagining figures of light. But by making the darkness conscious.

Roz Dimon

So I'm just going to show a few of my guns. And I thought at the end of it, I'm going to also share a story that has some light. A different kind of light in it. Going. I'll try to go rather quickly. I think we're limiting to 20 minutes as best we can. As some of you know, I recently did a series of portraits of Abraham Lincoln that sort of sprang out of me. And this is actually.

Roz Dimon

An image of the gun that shot Abraham Lincoln and it's called I'm afraid of the rainbow Lincoln. This is a 300 PPI. It goes really large. I'm zooming in and out of my canvas on these pictures. And I'm going to show you a couple of these pieces. I did this whole series of guns. And as I said, they did stem from an earlier. Examination of tools.

Roz Dimon

And there's also sort of the double entendre. This is a closeup of that piece, just to show you how close up I'm going, where you still get the resolution. It's just right in the belly of the gun. That, you know, I'm, I'm working with a machine. I feel we are machines in some ways. I'm working with a machine and I'm a machine.

Roz Dimon

Making commentary on the machine and looking deeply into a machine that is. For better and for worse. A, a, an evil, beautiful kind of image. That has crossed great suffering. And. And all sorts of emotions around it. The stories when people heard I was doing guns, they were rather shocked. Like rise. How can you do guns? And I've recently said some things on Instagram. About that. And I said, well, you know, artists reflect their society. And honestly, this. This, this image right here is in the daily news every day. We have a teenager who just shot up a bunch of other people at his own school.

Roz Dimon

And, and it's. It's an image to be. To be looked at and I'm offering it up. Simply as that, as an artist. And as an image to look at. This is. S and W. Spooky snub nose. All of them have stories behind them. They're all digitally drawn one mark to a layer. I'm very much a kind of old fashioned digital artist. I mean, for me, it's all about painting and drawing, but it certainly has led me into. Incredible other realms of storytelling just because of the. The incredible amazing things you can do in this medium. That's a closeup of spooky snub nose. When people say, well, these look like your drawings, your regular drawings too. And they do, but. You know, you, we all know you can't, you can't make these marks or, or I can't. I don't know how I would make these marks and get this electricity in this.

Roz Dimon

This digital. Feeling that I, that I need for my work. A lot of these are, this is a famous gun as well. Called. Don't make me shoot you, Jesse. And they do have a paradox in them as well as something I'm working with and wrestling with, with, when I do these drawings is. I'm thinking about, of course, there is a very, there's a paradox in these, in these guns. And also a sort of. Action that is once. Yes, obviously a male. Sexual action of a seed or a bullet or something coming out with rate, tremendous force. Masculine force. And also within a gun. There's a huge feminine kind of force holding that gun in check and holding it in that makes that power. So they're rather fascinating.

Roz Dimon

Things to draw tools to draw. And I actually went to a gun range. And. I don't own a gun. And I get to every town for gun safety. So I'm not, I'm not glorifying these weapons and saying that people should have one. I'd like them to have an image on the wall that makes them think about the power and the history and what these images are. But there's no didacticism here. I'm not, I'm not the answer queen at all. Never happened. These pieces are all about the questions. And here's another closeup of this piece.

Roz Dimon

I'm going on. I, this is called happy day. Who's crying for me. And in this case, I had read in the newspaper and saw a picture of the victim of some of a man who had. Shot people in a, in a theater. And. I, I, his face was so sad and so empty of any. I, I, his face was so sad and so empty of any. Caring it seemed it was just. I'm not saying that I'm thinking more about the gunman than the victims. Certainly not. But I did the title does reference the emptiness that comes out of an act like this using a weapon that we don't seem to know how to control our technologies, which could bring us to a lot of questions in this group. But I did the title does reference the emptiness that comes out of an act like this using a weapon that we don't seem to know how to control our technologies, which could bring us to a lot of questions in this group.

Roz Dimon

What do we do with these, these machines that are our inventions. For better for good for both. This is a closeup again. I could not make marks like this. They're holding their power. These teams can be judged be projected huge on a wall. Or I had two editions of them large and small. This is called. The lonesome was woodsman and the man who owned this and his wife kept this in a drawer and only used it once to put their dog out of misery. Again all digital marks sometimes there's 50 to 100 marks in these pieces and they can animate as well. Going deep inside the belly of the gun.

Roz Dimon

Actually this is actually at the very tip of the gun. This piece is actually in the wrong biennial right now. This piece is actually in the wrong biennial right now. The name of the model is what you're looking for. The name of the model is what you're looking for. The name of the model is what you're looking for. The name of the model is what you're looking for. The name of the model is what you're looking for.

Roz Dimon

The name of the model is what you're looking for. The name of the model is what you're looking for. The name of the model is what you're looking for. The name of the model is what you're looking for. And her father was gay and he was not he never lived in a time where he could be really a free gay man at all. He had to he could never come out. And it was only late in his life that she realized that he had all these guns when she was by his bedside when he was dying. And she saw this picture of this little Derringer and he had never fired it. And it was just wrapped in these loving claws. And I did a piece about it. And it seemed to represent for him his masculinity and some part of him that was important as a man. And I also read recently this teenager who said that he called his gun his little beauty.

Roz Dimon

And this leads to lots of questions, lots of questions of which I don't have the answers. Again, looking deep into this gun. These were hard for me to do. But I was also fascinated by them and just felt I had to do them. I also do feel like times like this, you know, Christmas, Hanukkah, all these, it's never just happiness and light. It's if we don't see that dark side, like you said, we can't have joy and we can't be whole people in a way. So to me, these are actually some of my most spiritual drawings I've ever done. There's something in them that doesn't equate a gun with a spiritual power. But there's an aura in them and I'm fighting with them in a way that is.

Roz Dimon

I don't know. I don't know quite how to explain it. These ones are these are hard for me to talk about. And most people in this group know I'm pretty good at talking pretty good for someone who's born shy. But lots to say about art and certainly this medium, again, all digital. The guns often want to be in check. They don't want to be fired. I feel when I'm doing them, there's some sort of wrestling match going on that I think goes. There's some sort of struggle going on in ourselves. Whether we are what we're going to do and what our purposes are with the power we have as the keepers of the garden here. I don't think we're doing so great some days. Other days I think we're doing very well or at least doing something that is good and forward.

Roz Dimon

This piece Kalashnikov is I'm pleased to say will be in the expressionism show in Southampton. I talked with Colin about it. It's a very large piece. It's up on my studio wall right now. And I premiered this at Carter Burden in 2018, along with some of the other guns that they curated. And this is a very large beast.

Roz Dimon

And I pinned it with just push pins to see how big it was, because when you're working in digital, as you know, you're going at least the way I work, I'm going in and out of the screen really deeply to make these marks. So I really can't experience the piece until it goes out and is manifest in the real world. It completely lives in the digital realm.

Roz Dimon

This is a close up. So you can see it almost looks like a little garden in here in the middle of the gun barrel. And I'm painting with leaves and with all sorts of things on my brush in Photoshop. I almost exclusively use the brush at different opacities. And I'm usually drawing very quickly and it's always kind of torturous back and forth what layers to use and stuff. But I wanted to quickly play an animation of the Kalashnikov when it was reversed early on, just to show the process a little bit.

Roz Dimon

Let me pull this over. Can you see that Davo? Yep, it's visible and we can hear it. Good. My assistant who was working with me at the time had her videographer boyfriend come and just kind of make this video of me doing the Kalashnikov. I'm not going to play the whole thing. It's up at my website. But it just gives you the idea of my process.

Roz Dimon

And let me get back to PowerPoint. Again, here I'm lying, the Kalashnikov is on the ground and I'm stretching it. As we know, when you go to a show, things get antiseptic. It's a whole different experience when you're showing works. And this is the Kalashnikov to give you a sense of the size. It's 90 inches wide.

Roz Dimon

And before I go on to light, I did want to say that when my own nephew was killed by gunshot police in Georgia, a month before this show opened, I knew I couldn't do any more in this series. That was it for the guns. So I certainly have empathy with those who suffered and lost victims. I think it's, I mean, police, I'm not for taking away guns. I'll give my own personal feelings about this a little.

Roz Dimon

But I don't think the Second Amendment overrules the Second Commandment. You know, love one another. And I think we're in real trouble with guns at this point. And I don't think that our police department should have AK-47s, you know. It's true that Kalashnikov was a Russian who invented this gun and it probably saved, you know, the war against the Nazis in Russia. I mean, he had a big influence with these. And yet there, it's a lot to contemplate. I want to just shed some light, it being this season and in all of our lives, darkness and light, the mixture of black and white is never, it's always a mixed bag. But I wanted to share the way that light can come into our lives when we're in our, on our knees and darkness has come. And we all have experienced those days. And I hope I'm going okay, Davo, in like a few more minutes.

Roz Dimon

I wanted to share how lightness came into my life when darkness was everywhere. And I wasn't quite sure how I'd go on. I had worked at the, to give background, I worked at the World Trade Center for 10 years, off and on between the early 90s and 2001. And I lived nearby. And I LoVid working actually in the corporate realm, which became kind of like my graduate school, because there weren't too many graduate schools going on in the early 90s or 95. And I started working inside corporate. Also, I was in some of the earliest fine art shows. And I'm also all about mixing those terms up. I think they're, they're kind of ironic, but there's so much you can learn inside. And I was really at the top of my game and enjoying it. And it was an exciting time. And Colin was part of that whole time. And so many others who were part of this group.

Roz Dimon

Cynthia Beth Rubin and others. Victor Acevedo. But what I'm saying is that when the towers came down and the dot com fell as well, it fell. I mean, it was a huge dot com thing going on at that time for some of you who are younger here. And we were just busting through at the time. And it seemed like we were invincible, as invincible as these towers. Well, we know what happened. And this is my own office where I worked, the World Financial Center. I had the plummets job you could possibly have as a creative director of storytelling. And I was bringing in my fine art buddies and working with them. And just, it was so exciting and all things were new and we were changing the earth, we figured, but the earth let us know that we're not the only things in charge. So just explaining to you that out of this, and I'm going pretty quickly, but I'm telling more and more.

Roz Dimon

I was really in a dark place for quite a few years. After that, where the towers came down, lost gallery job, you know, my husband was in the dot com to wasn't sure how we're going to live for a while. But we did. And I went to the show. Kind of serendipitously. I've not really been very interested in Christian icons, even though I'm big into Jesus. But I heard about this show called Byzantium Faith and Power. I went to see it and I read this. And I hadn't been able to do a single thing since 2001. I was really, it was the only really down period of my life. Where I really didn't work for a couple of years. And it said icons were a source of comfort to a nation besieged.

Roz Dimon

And there was such a brightness in these things. And I looked at them. I still don't really know that I'm drawn to them aesthetically. But when you get the story behind these, it's almost like the way Picasso saw those masks. And it changed. He went out of his blue period into this wacky cubism. I wasn't sure what I was going to do with my corporate skills as a webmaster. I didn't know what I was going to do. I had all the corporate skills. And I'd been doing fine art on a very exciting level, too, in digital. And when I read that these are multi-layered icons with symbolism and meaning that shares something with the viewer. And the viewer has a different experience with these pieces.

Roz Dimon

I was, because I couldn't see any purpose in putting up a gallery of paintings at the point. I thought, what for? I wanted to say something more. I wanted to say something deeper. So I went and actually took a course, several of them. And I went and actually took a course, several of them. And I, it's called A Prayer. I wrote an icon with a bunch of other people. They're very, I was the only professional artist there. Everybody else was nurses or, you know, they do these courses. And this is what it looks like. You start off sanding a board and you're copying. It goes against everything I've been trained in my Western background as an artist. Trained in, I got my BFA in drawing and painting from the University of Georgia Lamar School of Art. And it was all about expression and, you know, conveying your emotions.

Roz Dimon

And I draw. I draw from the shoulder. And my Rabboni continuously interrupted me and said, just copy the image. Feel the prayer. Feel the layers. Feel the darkness of the earth, the bloodstains. Feel the flesh coming up and the brightness and the loveliness of her halo. And this is the Theotokos, the Madonna of Sorrows. And she has such a, I mean, I wept doing these things. You're doing a prayer for a week. And it's one little wood board that you are doing flat, flat washes of color and meaning. And it's a little bit of symbolism. This is just the beginning. And I'm going quickly through this. I'm getting somewhere. And I started thinking my next figure in numbers and layers. And what will this I came out of this class.

Roz Dimon

The PowerPoint doesn't seem to be behaving. Oh, there we go. And this is my studio, my altar. And here's one of my icons, the gold leaf kind of coming out of the Sinai Christ Pantecrotter. As an interfaith minister, I have Buddhas and everything else, too. But and Einstein and the works. But that's what studios are for. But my studio began to fill with these layers over here. Me thinking about doing a painting that would be a multi-layered piece that people would enter into and have a different experience like the icons. I'm skipping ahead a little bit. This is a more recent piece where I was commissioned. But it's I'm showing all of the pictures and the text and the thoughts and kind of a mathematical X.

Roz Dimon

Axis going across and a Y going down of events. And then this is the Z where I'm real interested. When I talk about the Z, I'm talking about the depth of a painting. And this work came out of that time. It's probably my most renowned piece. It's called Pale Male of Pilgrimage. It's about a hawk looking for home. It's about Jesus. It's about Nike. You can see the Perrier bottles in here. The World Trade Center comes down in the middle. This is now in the 9-11 Memorial. Permanent collection.

Roz Dimon

They actually haven't had the guts to put it on the wall yet. And that's really upsetting because they love the piece. It's all about hope. These are the layers. It's just how am I doing Davo? How much time? I only have a few more. Just a few more. I want to get to Tali. I know Tali has to leave it around 315.

Roz Dimon

So, okay. Okay, I'll keep going. I'm showing a few pieces. I'm showing a few pieces that came out of this period. But they're multi-layered pieces that are a still image that connects the wall to the web in a way. I mean the QR code on the side of these pieces goes deep inside. This shows you how it works. But here's a young... Socks are the number one most requested item in homeless shelters. Underwear is number two. Get that. You can kind of see it right here. So there's a young girl going inside. Oh, yeah, the document. Exactly. Oh, yes, exactly. Yeah. So, they're really interactive pieces that were inspired by this great light and it changed my life. And I started doing works that are inviting my latest thing as a commission with the Children's Museum in Bridgehampton. It was backed by grants from the NEA, the Museum for Sciences and Libraries.

Roz Dimon

Did it during Zoom. Working with these young Latino Americans and loading their art onto my brush and making an interactive piece. I'm going to show you a picture of me. So I made this impressionist artwork of their work that you can go into and hear their voices and their witness during COVID. I made that pretty quick. You can find these things on my website under the pieces. I call them diamondscapes. They are different kind of ways to explore a story. And here's a look at my studio. And on the right, you can see all the kids images that I'm working with before I made them digital and they all get credited. And there's always a bibliography and I source and cite everyone. And I see different things going on in the realm of digital art that are like these pieces. And what I like about them too is that they open the bouquet.

Roz Dimon

Like if I invited all of you to do a piece about water and you brought it in and I wouldn't make it into something and you can either do it or not. But I would source everyone and it would go out to all of your websites. And that's sort of the whole larger landscape that I think is a new atelier in art for collaboration. And I think that's what I like about digital art. It's a collaboration where maybe we're still a film director in a way, but we're going deep inside this painting that is still a still painting.

Roz Dimon

And I'll end with that. Lots of darkness and light. Don't forget to if you're having a dark time, just get through it and keep listening and reacting. And you know what? The light will come back in and you'll get going again. Anyway, it's an ongoing journey. Thanks, my friends. And thank you, Roz. Thank you so much. It's a wonderful presentation as usual. Thank you. But now I can't get back to my story. I'm going to go back to my screen. Oh, here we go.

Roz Dimon

Oh, geez. I could go ahead and help with this. Watch this. Oh, could you assist me? Thank you. I'm back. There we go. It can get kind of funky. But thank you. Yeah. You're welcome. This time, actually, in the interest of time, we're going to hold the questions until after all the presentations have occurred. Just because everyone might have different time restraints. So.

Roz Dimon

Thank you, Roz. We'll get to your questions sooner than later. But next up, we

Have Tali from Lovin. Hi. Yeah. And my son's just going to come in like about 30 minutes. So maybe I'll just have him pop if he needs me. I'll just come in and I'll try my best to stick around. Hi. And I don't think I know most people here. So and I just was going to go through a little bit of my website. Some recent things. Should I share my screen? Let's see. I just wanted to give a quick intro. So Tali actually is one of the artists that I'm showing with in a show called Neo Tech that's up right now at Museum of Contemporary Art Long Island. That's how we met. And there was a group there. It's up through the 19th of this month. And I got to know her a little bit and some of the other artists we hung out after the opening and, you know, I wanted to invite her and the other artists to come see what we have going on here.

LoVid

So. So yeah, I just wanted to give that little brief intro. Yeah. Thanks so much, Paul. It was great to meet you in person. So I am based in Long Island. Lovid is my artist's name. It is started as a collaboration with my husband Kyle and we still work collaboratively. But in recent years, it's more me doing the work and, you know, we kind of share the responsibilities when possible. He has another career that he didn't have for the 20 years. So we've been working together for the whole amount of the 20 years we're working together.

LoVid

And we until before moving to Long Island five years ago, our career is primarily New York City based. We've traveled the world, but I really kind of New York City kind of connected and I've worked with, you know, a lot of the like, not for profit media and arts organizations for like over a decade. We've been working for 20 years. But for like 15 years. We worked a lot with rhizome, ibeam, smack melon, a lot of grants and supports from many organizations. And so we started working as really like a performance like a video, an audio visual performance. And I like this is our website. I'm not going to go through all the things that's like 20 years of work, but where I am going to kind of focus on is probably the most unique things about our practice, which is that we're not going to be doing a lot of the work that we're doing in the first place.

LoVid

So that's what's going to be that's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place. And that's what's going to be the most unique thing that we're going to be doing in the first place.

LoVid

It was like a music noise music kind of what led to glitch art and all that so this is just so in we've been working in that space of analog instruments is a kind of a reaction to what Roz was setting up this collapse of the dot-com bubble the destruction of the towers and not that we were necessarily very conscious as young artists at the time of all that but I think it was extremely influential in retrospect so we have been immersed in the idea of building our own analog instruments inspired by 60s and 70s Stena, Nam June Paik, all that stuff I'm not going to do a whole lecture of video art but we've been really involved in that community and have received a lot of support and recognition from the world of you know anything from handmade instruments and analog equipment to video art and so I went to school in Paris and was have been doing video pretty much my whole career I'm primarily a video artist and that is in a funny way when I came to New York I don't know if you guys familiar with experiment with electronic arts intermix EAI so when I was in school in France that was what my first introduction to video art was through American video art that was all distributed and cataloged by EAI which is the largest distributor of video art and so when I was in school my whole goal was to be a part of that community at EAI and when I first came to New York I went there and looked at a lot of the video collections that they have and so since five years we're now distributed by EAI and kind of in that conversation of American and international video so in addition to that I'm going to first let you know that I'm not an artist in that kind of way in that question so I'm just going to let you know that I'm an artist in that kind of way and you can see that I'm an artist in that kind of way and I'm not an artist in that kind of way in that question so I'm just going to let you know that I'm an artist in that kind of way and I'm not an artist in that artist in that kind of way and I'm not an artist in that kind of way and I'm not an artist in that question so I'm just going to let you know that I'm an artist in that kind of way and I'm not an artist in that kind of way and I'm not an artist in that kind of way and I'm not an artist in that made with analog instruments.

LoVid

So it's not, there's no digital component to it. It is digitized at the end, but everything is live signal using handmade electronics, based if some of you, I don't know if the people in the room. So I don't know if you are familiar with analog synthesizers, if you're familiar with like a Bob Moog synth or anything like that, that's like an analog video sound instrument, a video, synthesizer work in a similar way where you have a certain amount of, of, circuits and you patch them together to create different colors. It's an RGB system and you can do abstract live audio visuals. Maybe this so our instrument creates audio and visual and video simultaneously. So when you hear the sound, the sound and the video are different interpretation of the same electric signal. This is, I'm not, I'm just kind of going through throwing ideas and to, but also to kind of show you this.

LoVid

And I think, you know, if you look at my, I don't even have the, the Venom, Venom, I'm just going to click through the sedition thing. Cause there's a lot of other examples. So, you know, in this case, the sedition stuff is, well, actually maybe I'm going to go back to that later. So, and the work that we have, would, would EAI is all signal channel work. So we've done a lot of live performances. We've toured around the world. Let's see if I can have some images of performances. We used to tour a lot with this big giant table called the sync harmonica. And you know, that, that means the video is ephemeral. It's always live. It's not recorded, but then we also do recordings and then, the EAI stuff is all signal channel that can be, exhibited and screening festivals, things like that.

LoVid

And anyways, this is kind of loading slowly, so I'm not going to waste your time, but you know, lots of, really it's like it's 20 years, 20 years of work. This is like, you know, we've had shows at MoMA. We've done a lot of stuff with PS1, and you know, really move museum, moving image, blah, blah, blah. So, but what I think what I want to talk about, so, you know, Roz was talking about, her process would, we're using these brushes. And so my process is always going back to the video signal. So meaning any colors, any patterns that I use in my work, no matter what the final, object, or image are always come from our video synthesizers or video synthesizer, what we work with. So it's always hardware based. So I'm, I never use, Photoshop color. I never use any software color.

LoVid

All the colors always come from this analog process. And, I was actually thinking about it today, even though, you know, throughout the years, most of the work often, this is a kind of abstract patterns. The essence of it, it really is live experience experience. So, cause when we're creating, the content, the video, the images, there's always this, you have to be in the moment. It's a performance where there's a performance in the studio or performance in front of an audience, but all the work is always based on this like personal intimacy between performers, audience, the room, the moment. So, a lot of it is kind of going back to that idea of like memories and capturing it. So throughout the years, we've always, done, various prints and other objects that again are kind of these collages, paintings, whatever term you want to call it, you know, you, you use the term with a kind of like an image bank that I have.

LoVid

I have like 20 years of like videos. I have like 20 years of like videos. I have like 20 years of like videos. And I can use them in all these kinds of different ways. This is an example for like, for a collector's home. It's a two stories tall, like a digital mural. So it's an adhesive, print, that is, if you can tell, these are like images that are similar to the videos I showed you. And in this case, you know, it's like a screen grab and the way the quality of the synthesizer, I said, it's RGB. Of course, with RGB, if you overlay different colors, you get, you know, subtleties and interesting colors. Also something about the video signal inherently, it's a 720 by 480 always analog. So you kind of have to like work and with those limitations, if you want to get a higher resolution, you can go like this, the, the architect I work with here really wanted this kind of fuzziness that you get from expanding it recently.

LoVid

I've been doing a lot of tiling and kind of pattern work with it. Something else that's interesting. A lot of our videos are very flickery. They go by fast. There's something about like, obviously the, the frames per second. And, and, and the kind of like the idea of the specific building and the kind of the Americana's are really good in that way. So I'm going to start with the video in the second work. So I'm going to video in the second work. And I'm going to start with the video in the second work. And I'm going to start with the video in the second work. And I'm going to start with the video in the second work. And I'm going to start with the video in the second work. And I'm going to start with the it and I de-interlace it, I will see you see things like in these kind of blues and pinks that you would never see in the live video because those things are invisible to us, if that makes sense.

LoVid

So a lot of my, all the image boards, the objects are based on that as well, things that we cannot see. And then I've done a lot of like, this is from a museum in Raleigh, this is a kind of these huge prints and mixed green gallery, which is in Chelsea, and some other, so lots of print work. Website is very out of date because I never updated, and the best way to follow us is on Instagram in the past. So let's say for between 2005 and 2015, our work was completely funded with like really generous grants and fellowships and residencies and all that stuff like institutional artists. And then we've transitioned to working more within like the gallery like world for various reasons. But so some things that I've been doing in the past, in the past, let's say five years is doing tapestry work, which again is taking the same process that you saw in the prints, which are usually prints on paper.

LoVid

And then I've been doing some other things like I've been doing some other patterns like patterns with marker prints on paper. Now I've been working with really high end textile printers like doing south dye sublimation. And I don't know if I have any details on this one. And that's the kind of stuff that actually does not exist on my website. It's a lot I have a lot of shows for exhibitions at some of the work that in the show at Collins this act this piece is similar things the smaller pieces a lot of hand embroidery into it in it and a lot of texture but there's always this component is actually some photography that has kind of worked well with those which I won't even get to, but like this special camera that I use. Generally speaking, I avoid, I mean, I do use Photoshop and like Adobe Suite, but I really do like and make it a goal to work with custom-made, artist-made tools.

LoVid

I come from this like logic of this utopia of technology where an artist creates their own system, artist-made systems, and not just using corporate tools. And this idea that by making something authentic, an authentic tool, you can have your authentic voice and also challenge the perception of what, you know, sometimes the convenience of like the Apple products kind of, you know, we lose something. I feel as an artist, you lose something on the way. So I really like use those tools just for like editing. And a lot of the stuff is done by hand and with these, you know, like this camera is, a camera that I commissioned from an artist friend to do it. So there's a lot of work here. And, oh, and then an additional thing. So because we, I talked about the idea of like the experience, like the live experience, and also, you know, this is kind of cute.

LoVid

The bodies, how the bodies are a part of the performance. They're a part of different products for us as performers, but also for our audience. And so in the past, also a few years, I've often done like costumes and little elements like that for our shows. But in the past, I don't know, three, four, three or something. I also have sort of like a line of wearables. It's just called Loved Wearables. And it grows out of like merch culture. Like I said, we did like toured for like 10 plus years and like have like, you know, we've released DVDs and VHS tapes and like little books. And I'm really like in love and really believe in that world of merch and music and distribution where your value is not based on the rarity of the object you're making, but on how many people it affects and how many people can have access to your work.

LoVid

So the line of Loved Wearable is kind of an in-between. I make these limited edition, often scarves, but I've made some shirts and I have these baggies these days. Usually they're just an addition of six and similar to the like very involved tapestries that I'd show you a glimpse on. These don't have like handmade details, but they're textile designs that are based on video work and kind of other interpretations of the video in it.

LoVid

Are some of them. And, and, you know, those have been. So actually, those have been like the first time I sold work because the work has always been very ephemeral and, and grant based. And only when I started making these wearables, I started selling work, which is kind of funny, like, you know, so that's been kind of an interesting, an interesting things for me.

LoVid

And, you know, so I'm going to skip through. This is a nice show. That's another show that I have right now that Lovett is in is Techno Future. It's closing maybe like this weekend. It's at Montclair University. And it's a kind of another sort of survey of, you know, generally speaking, digital art has some really great heavy hitters. Carla here is here as well.

LoVid

Stephanie Dickens, Nancy Baker Hill, Sandra Perry, Marishin. And then we have several is their website is actually kind of cute. I can put it in there because there's a nice kind of interactive view of it. I don't know. I didn't check the questions, but I don't know if there's any questions. And then, oh, I was going to show that so I was talking about the limitations of I mean, this is the funny thing of technology, right? Because I guess I guess I consider myself an artist, but also probably I do consider myself a media artist in some way. So I think, you know, I think it's really important that we think about technology and media in the technological era and the effects that it has on our bodies and on our minds.

LoVid

And so the weird thing about working with technology is that you're expected and you're required to adapt to whatever are the new tools. So when we started, like I was saying, 720 by 480 resolution for video was just the thing when you just had TVs. And then slowly, you know, there's like HD and 480. And so what do you do with it? Right. And like a painter, I'm always like to reference painters, those damn painters, because in my head, they have it easy. But, you know, a painter can just use their tools, whatever size they want. You know, they had they do have that liberty. And it's something that I constantly challenge and question as a technology artist. There are things that are constantly taken away from you, an agency that is not you don't have control over. And, you know, for example, our instruments, don't work on all projectors, there are some projectors that do not accept analog signal to them.

LoVid

So there's built in limitations. So one of the things that I started doing once it was really impossible for me to or not satisfying, I'm not gonna say impossible. But for me to present a 420 by 480 video on HD screen, it would either have to be very small, obviously, with lots of like black bars, or stretch to like, you know, you guys know what I'm saying. And there are some older school than me video artists like Martha Rossler, who would be very adamant about like their work and only be presented in a certain kind of monitor or TV, it cannot just be projected any anywhere, I'm kind of happy for my work to be shown any in any different kind. But what I started doing is once I wanted to take on that challenge is doing these kind of tile work. And again, referencing tapestry again, into each of the pieces if that makes sense.

LoVid

So there's this tiling, there's the simulation of texture, color, etc. So the collection through sedition, and there's a show. It wasn't a show, like right before the rabbit for COVID hit. Anyway, I haven't played a lot of the video because it's really usually very loud. But, the show that this has been well, not this one, but this idea of like the screensaver, right, this was like pre NFT this stuff, too, which is kind of funny.

LoVid

Context just keeps changing on you all the time. And you know, there's a lot, there's like a lot of pieces in this. I mean, another thing that I that I do think and care a lot about is distribution. I mean, we've done as I've said, I'm we've done like, mini DVS, NFTs, sedition, whatever, I'm kind of interested, I'm kind of obsessively always thinking of what are different ways that artists have agency over distributing their work? And how do we? What do we do about it? Right? Where do we put the work? So, yeah, that's a lot. And I'm not gonna go back in that because I do, I am gonna just wrap up with talking a little bit about NFTs.

LoVid

And I am represented represented by Postmasters Gallery now. They're like a bit blockchain branch and working on some other physical exhibitions, including the tapestry work. And primarily this has started as like my kind of NFT connection, I guess, started with the series, it's called Hugs on Tape, which was kind of like deep pandemic.

LoVid

Project that was working with the pandemic, but also this like NFT culture at the same time, where obviously we were all in isolation and hugging was an intimacy, was something, you know, that we were craving. And I, the first action was to ask my family and close friends from around the world to send me videos of a hug that then I really kind of like in a really dumb way, like retrace and like Photoshop and then like export.

LoVid

I mean, it's a really like dumb process, like a dirty process. It's nothing fancy. It's really like just like blue screening by hand, frame by frame. But it's an intimate process. And again, this is like, it's based on physical connections. And it's based, it's based on my physical relationship then with the mediated people on the screen and a kind of choreography of it. And again, and all, obviously all the patterns, the colors are just straight up video from our, from our analog instruments. And that I, you know, now I sort of tile and make these patterns and, and they kind of hit, you know, people just got really into them. I really made them for like Instagram originally, and then they've now turned into NFTs. And, and some, I have some tap up street work they're going to, there's a show Honor Fraser Gallery in LA that's going to have two NFTs with Fabric Works and Postmasters are going to have some of those as well.

LoVid

And so the series kind of continues. And I mean, to me, the funny thing is that when the years that we were really heavily specifically performing, there's the physicality of the performer of the body of the performer, but then the audio, the video, the audio, the video, the video is abstraction. So it was always like, well, how do you capture that moment of a performance? I mean, I always think about that, Roz, in terms of like spiritual practice, it's the same thing, right? You're kind of like in the present when you're as an audience or as a performer, there's something really magical that happens in the moment. And how do you capture that, whether it's your artist in the studio right so that was something that I always was thinking about what stays what the remnants of a performance whatever remnants of like the moment of creating something and I'm just kind of like you know at that place where I'm finally there with these combining the live video video.

LoVid

These figures. And right now I'm focusing again on these hugs, and there's a lot of potential, I keep, I'm getting more hugs. And each hug is a mini performance, right? It's that kind of, it's a, like with the idea of like the whole crypto world, where we talk about social tokens, I kind of call them social emotional tokens.

LoVid

You know, and there's a little jolt of joy that maybe you get every time you see these bodies entangle, or make connection. And to me, or to us to low for low vid, the video patterns really do symbolize invisible signals, they symbolize love and connection and flowing of, of abstract thinking, and things like, don't necessarily have words to express, but they're not just visuals. They're not just kind of a random collection of colors. There's always memory and engineering and presence in them. And yes, I was saying about COVID. Yeah, I mean, it's really exactly, it's a very COVID specific, of course, we've been, we've been, we've worked as low vid for 20 years. And I always feel like it's like, really COVID is what you're doing. And so I think that's, I think that's, I think that's one of the things that we've been doing for a long time.

LoVid

And so we kind of, and actually, the one at first name COVID, an old friend posted that we should go on tour. And for a while, we did do like an Instagram live tour, where we did performances with it was like the lovin 19 11 20 tour and this is just like an example of one of our earliest works which was kind of I just like to kind of be in closing to kind of think of like body entanglement video patterns human technology connection so one of our first pieces was in 2003 was video wave way I'll show you which was initially a piece that we made for performances and installations. This was before for the children in the audience, there were no iPhones or I anything's at the time. So we had to hack, LCD screens for cars, and we performed with them as costumes for several years, and we would run we ran live video on them.

LoVid

So it's just kind of like one of those things that, you know, you work for like a long time, but you realize you in some ways, are always back, back when you started, but hopefully a little smarter, with more precision in how to articulate yourself and have a bigger audience and more opportunities. So, I think that's pretty much it. I mean, I can go on forever. But that's a concise thing of what I wanted to say. And if there are any questions, I'm happy to respond to them. But yeah, thanks. Thanks for listening. Thank you, Tali.

LoVid

All right. Let's see. I think we I'm not sure what we should do in your case, since you do have to leave in a couple of minutes. So we, I guess we could go ahead and take care of questions that you might have now that you're still here. We could go do that. I apologize for rushing everyone. Oh, no, no, it's fine.

LoVid

We're pretty loose here, I'd like to think. Well, I'm going to look around and see you and if anyone has a question, just ask. Is this? Yeah, I can't tell. I'm sorry. Tell us Pure someone someone's asking for pure data software. Raise my hand. Yeah, I asked that but you seem to have kind of you answered that by saying you wrote everything yourself. It just No, I don't actually it's no software at all. It's all analog. So we don't use software we use I mean I've done software work for like sensors and things like that I that I have, you know people write for me. I'm not a coder. And I do I only the only software I use is like the basic Adobe stuff so all the colors and patterns are made with, you know, I'll show you.

LoVid

A lot of a lot of circuit boards, it's, it's pure analog you really just run, you know, you have to say all circuits circuits and then power into them and patch them in different ways. Yeah. Okay. I asked the question for people who don't know. Yeah, I don't know if you're data is like max MSP jitter. And just because you were talking about the real time generating of images and it just Yeah.

LoVid

Partway through. But then Actually I do have a lot of like analog, like, like off the shelf like mixers and things like that I rarely use these days but kind of, you know, really old school analog video tools. Yeah. I'm like an old school ladies you know I mean I'm like I do kind of have a feeling that whatever era of technology you come of age into is kind of where you stuck or at least me. So I'm like, you know, I just, I'm like, you know, give me like some good equipment to plug in and run cables. So that's kind of my. That's how I work. Yeah. Yeah, it's really thank you. It's really wonderful. And I also think that you're a I didn't really focus on the sound, but I think that resolving, you know, image and music is a is a big challenge and it seems that you've resolved that.

LoVid

So, yeah, and we you know we've also worked a lot within the experimental music world. So it's sort of, I mean it's a mixed bag because you do. You normal artists would work. You know, you can't really focus on one thing, but I do find that more similarities than there are differences between, you know, an experimental, you know, music composer and a painter but they are a filmmaker but they often wouldn't meet because New York is such a big artist community and everybody kind of tends to be in their own in their own bubble. So, yeah.

LoVid

Yeah. Yeah. I wanted to just make a comment to that you know expressionism as I think about it really is definitely not limited to digital work you know that meant the manifesto part of it is talking about how technologies this continuum you know and I really feel like it's important, you know, to see work like this because everything comes from somewhere, you know, and like, what was, you know, 4k was HD was. Yeah.

LoVid

It's not so much of a state and it's not so much of a story. It's not so much a story. It's not so much a story. It's not so much a story. Really not a digital artist in that sense but you know who is not everybody is in some extent a digital artist these days so yeah I appreciate that term and kind of keeping that you know an open open definition yeah how long ago what was that how long ago did you make the threesome hug video that's the threesome hug video was like february you know february march yeah it was around february march this year yeah those are all the hug series is all recent so I started them at around february you know it's kind of an ongoing series yes because it's you know it grabbed me I think it was very strong image during this age of pandemic mess you know seeing three people hug and then adding in all those layers of abstraction really made it very emotional yeah thank you so much I'm really glad I mean it really it grew it is a response to the COVID and the screen time that we all had and I and I have to say it also is a response in some way to NFT culture because what I do notice in a lot of digital art whatever you want to call that we see there is a sense of solitude you know there's a lot of like a lot of artists are making work about isolation and the self through either multiplying the same body or kind of selfie culture and I guess that's my little disruption you know like celebrate IRL intimate you know connection with people and you know I think that's a lot of people and so yeah that's I'm glad that you responded to that thank you yeah and all of those are NFTs on the you know through postmasters so thank you yeah thank you Lee and I think we I think Roz did actually have a question or comment as well for you yeah I really enjoyed that presentation and I wanted to ask maybe you said this but are the huggable pieces do you think are the pieces that you would like to see in the future or are you make them into some kind of merch speaking of love that merch culture I saw that Callum really loved it too I love the democratization of all the stuff going on here that is so threatening to the art role in some ways but that some people like postmasters they've been getting it for years but I my this is how I always ask a question just get to it Roz is do you have any like images that are that you make that are purchasable as merch culture of your huggable pieces or are they like going to be just like are they just like at the end of the day is it like you're they all motion or, you know, do you, you know, because the huggable is like such a new, such a new body of work.

LoVid

I first just made them as NFTs, you know, they're available. And I've been selling some of those. My right now I have two large tapestry works. If you go on my Instagram, you can see those. And I do have some plans to have some of those like wearable scarf, or I've been I did like a limited edition of like shirts, shirts, that's kind of my dream to make another shirt. And I priced them in a kind of like cheap art or expensive garments kind of kind of price because they are handmade locally made. I work with a seamstress, I don't like send stuff to like, I really work with like the quality of the fabrics and the printers. I don't just like do stuff online.

LoVid

So definitely, if you're interested, I, I, you know, I love working with collectors and people from all from, you know, all ranges. And a lot of my collectors are artists and people who kind of again, like an entry point and any and any level is something I'm really, I'm really passionate about. So thank you so much for encouraging me. And I have a friend who's always like, you need a hug shirt, you need a hug dress. I'm like, okay, okay, okay. So stay tuned. There are more hugs coming. And I put if it's okay, Colin, my Lovett email, just Lovett, Lovett at gmail.com.

LoVid

Instagram DM me DMs always open on Twitter on everything. And yes, the accompanying music does come from the video equipment. Yeah, yeah, yeah. So absolutely. I'm just you know, I made these like little bags. The other day, like I had like little leftovers from a big fabric piece. And I just like posted Oh, I have these bags and like, I sold like, you know, I sold my way. So I just kind of like to respond to whatever feedback people get me. And if people are like, I want a hug scarf, I'll be like, Okay, I'll make I'll make some hug scarves. Yeah.

LoVid

Thank you. Thank you. Yeah, thanks for coming. And bring Kyle back next time if he has a day off. Definitely 100% to miss and I put my email everybody. Yeah, please keep in touch. I'll try to log in. I'll be around. I'm just going to go to my son. But thanks so much, everyone. All right. Thank you.

LoVid

I'll give you a round of applause as well. All right. That being said, thank you so much. I know you probably have precious little time left before you have to move on to your next thing. But again, thank you for stopping by and presenting. And I think next up we have was it? What do we say? Was it Albrecht?

LoVid

Next up? Oh, you're muted, by

The way. Yeah, I think I'm ready to start. If I may. Yeah, free to go. Yeah, I'm very happy to speak here today. I feel very honored. Thanks for giving me this opportunity. Thanks for having me. So I share my screen. Yeah. Also, if you are well, actually not pretty sure you're probably going to introduce yourself. So don't worry about that. Nevermind. Of course. Sorry. Yeah. So I'm my name is Moritz Albrecht. I'm a radiologist from Frankfurt, Germany. And I started the project Radiology-R.com actually back in 2017.

Moritz Albrecht

I was living in Charleston, South Carolina back then as a radiology researcher. And it took me years to actually start the website. And I started in November 2020. So, in real life, I'm a radiologist and a radiology scientist. I published more than 120 scientific papers on radiology and I think this helped me a lot to get a good overview about all the technology that is being used in current diagnostic radiology and also a very important part when doing...

Moritz Albrecht

Art is the post-processing. We call this in radiology terms post-processing when we manipulate the data and craft this advanced 3D reconstructions for instance and this is also where all these colors come into play. So I use traditional radiology softwares but I use very many advanced features that are actually not intended to generate diagnostic images. So not many radiologists are aware of these features.

Moritz Albrecht

And I'm also an abstract painter and so for me it was always clear to be at the intersection of radiology and digital art and since 2017 I was doing this and with the website and also my Instagram I also serve as a digital art curator specifically for radiology art that involves everything with x-rays, magnetic resonance imaging and computer tomography and not so much ultrasound actually.

Moritz Albrecht

So I started this virtual exhibition in the middle of the pandemic during the lockdown. Germany situation everywhere was desolate and my favorite artist Gerhard Richter said that art is the highest form of hope and this actually inspired me a lot to do something like this. Something against the misery and the situation to finally launch the website. And the permanent virtual exhibition shows currently 49 digital art pieces. The majority is still from, or actually 22 are from myself. And in total, there are 19 artist features and it's constantly growing. And currently there are two expressionism virtual artists featured. This is Steve Miller with two pieces and Rui Reach and myself with several. So I thought because radiology art, there's a lot of technical background that I start with some details.

Moritz Albrecht

And then afterwards I show this art piece in big. This was, for instance, in a city art piece with a collaboration with a friend of mine. This was one of the first radiology art pieces we did in Charleston, South Carolina. And you see 3D ECG triggered cardiac CT reconstructions. We use modified software.

Moritz Albrecht

And just to give you an idea, this is not that you just come up with this colorful images because the softwares are actually not designed to generate those. So you have to manipulate softwares. You have to use prototype softwares. They're quite unstable. They crash. Several times. So it takes. We sit in this piece for three nights.

Moritz Albrecht

And this is how it looks like. I think it's clear that I was influenced a lot by Wawel. Since it looks really like pop art. And I choose this term serotonin because you get this. I think serotonin release. It looks like pure love. And so whenever I feel unhappy, I tend to look at it and it reminds me of this feeling of love and happiness.

Moritz Albrecht

And the second piece, when I started in 2017, it's also a CT piece. So you see here a contrast enhanced pulmonary angiography CT scan. So this is the same slice. But this is 91 different reconstruction. And in radiology, we use sometimes dual energy CT scanning mode. That means you have a low kilovoltage acquisition blended with a high kilovoltage acquisition.

Moritz Albrecht

And that actually gives you an opportunity to get exponentially more color combinations. And it also, I chose the term La Vita Vavanti, which means life goes on in Italian. Because actually looking at a fatal lung embolism. So what you see actually is a very severe condition. At the same time, it's rendered in all these colors pretty beautiful and intense.

Moritz Albrecht

And what influenced me here is again, my favorite artist. Gerd Richter with his color charts. So the sequence of these images is chosen that you don't, you cannot identify a pattern in the range and the sequence of the images. So it should also, you should look at this at a general glance without seeing specific patterns. But if you come closer and then you see this.

Moritz Albrecht

For instance, here's the embolus. Here's the pulmonary artery. And you see sometimes, for instance, here, the perfusion defects. So at the same time, this also gives you, it's kind of a discrepancy. At the same time, it looks beautiful. And at the same time, you are also, you have respect for this.

Moritz Albrecht

And you may also be a bit intimidated. So in radiology art, when it comes to real objects. You have also this moment of body worlds, I would say. Like von Hagen. Another piece, which was similarly reconstructed. Again, with this low dual energy kilovoltage and the high kilovoltage state. This time I chose that you have this lightning. And it looks like a beam of light.

Moritz Albrecht

And I adjusted this to a 20-20. And here you see like a normal torso with lungs, liver, spleen. And so this was for a CT part. And again, this is just a selection of a few works of my, I tried to make a bulleted presentation. So this is like a. Bluetooth music speaker. But in x-ray art, what x-ray reveal the inner beauty of things. So, and it's not only the surface that counts. And when you see all this technology involved and how the symmetry of the screws and the membranes is arranged.

Moritz Albrecht

This is only visible with x-ray and everybody would agree that not only the superficial appearance is visible. This is what counts. But in x-ray, this is just evident by itself. And I use also filter for the left one. I also did some MRI pieces. For instance, here you see a brain MRI scan. And this is also digitally painted and windowed. Just to come to say a few words about this windowing in radiology. Just to come to say a few words about this windowing in radiology. Normally we sit on the screen. We have these beautiful monitors and have two windows. That means we choose between white and black on the extreme side. But if you choose this color coding. You can also have it of course in color. Which is it's very unlikely that you will find a radiologist who looks at color images like in this.

Moritz Albrecht

Which is it's very unlikely that you will find a radiologist who looks at color images like in this. Combination for instance and I call this spectrum because we all have the same brain so we are all the same on the same time we are fundamentally different in all our talents and our orientations and all this diversity is reflected in this art piece and like the rainbow that also represent the spectrum of people so again the ctp is here this is crafted with a prototype software and I was always fascinated by medicine art in general and medicine art very much focuses on skeletons and then bony structures and yeah it looks very trippy I would say but yeah I'm fascinated by skulls and I did also a couple of those for instance here again with my friend Marvin Ait back in 2017 and it's actually not intended by the software.

Moritz Albrecht

When you try to choose different color codings and you click on reconstruction, there's just one very short for half a second. Then you get this image and you have to be very fast to a screenshot. And again, this is, I think, what we exploit in radiology art is actually, I think the manufacturers themselves, they were not aware of all these possibilities that their softwares actually do and have. And at the same time, we have also in terms of scanner technology, they are huge. Between the different vendors and manufacturers in the radiology field. And it's very interesting to combine different settings. For instance, here in x-ray, it's not self-explanatory that you get this image. You have to experiment a lot and take a lot of shots and images to get actually the detail and contrast and shadings.

Moritz Albrecht

And of course, in CT, this becomes even more complex when you have to modify the tube current. There are reconstruction kernels, a lot of filters. Like in Photoshop, we have this also in the medical field. But yeah, for instance, here as an x-ray piece, you see here, for instance, this was quite an expensive lighter here, relatively cheap lighter. But you see also this evolution of lighters. And I think when you normally look at the outside, you would not be aware of all these structures that is hidden actually for the normal eye. But x-ray reveals this inner life of the devices.

Moritz Albrecht

I was also fascinated by cardiac CT is one of my specialties. And that's why I had various combinations of cardiac CT pop art. This probably looks a bit more calming than the other one I showed at first. And we also examined fruits. I think scanning fruits, it's quite fun. And you get this tropical vibe when you look at these images. And at the same time, I tried to arrange them also in random sequence, like the color charts of Gert Richter. And this was an MRI of a kiwi. And to just to say, in radiology, it's a little bit more complicated. But it's a little bit more complicated. And I think, it's not only the digital painting that you do, a lot of the process is actually the image acquisition itself. And for instance, to scan a kiwi, you have to imagine in a magnetic resonance scanner, it's a completely different bunch of settings that you have to modify to get these images actually.

Moritz Albrecht

And then there are different weightings. And I don't want to, dive into physics too much, but we use the free Tesla field strength scanner, which has the best detail resolution. And yeah, finally, we came up with decent images, and we reconstructed those to get this end result. We also put, we scanned animals. This was a shark in Charleston, South Carolina, at the East Coast. This was easier to get than in Germany, of course.

Moritz Albrecht

And this is a CT topogram of a shark that was actually examined for study purposes. And of course, I used the opportunity to also craft a nice digital artwork out of it. As in contrast to the CT pieces that I showed in the beginning, this was not performing dual energy. So this is where you get probably, I know you can spend hours and then you come up probably with 300, 400 different colors that looks nice, I would say. And out of this, I chose the best ones that suit. The painting or the art piece best. And in this last instance, I tried to arrange this. When it's scanning dual energy, you have exponentially more combinations, and then it becomes really complex because you are sitting hours and hours in front of these screens.

Moritz Albrecht

And it's really pure digital painting. I was thinking this back in 2017, that this is really, because I'm also an abstract painter, and it just felt quite analogous to the painting experience. Or here we scanned a pomegranate, again, a two-weighted MR image of a pomegranate. It's not a kiwi, this is an arrow here. And we used again free Tesla field strength to get this nice image.

Moritz Albrecht

One could also argue, okay, you could just slice the pomegranate and then photograph it and have a similar image. But that's not the case. So I'm going to show you a picture of this. And you can see that it's a similar results, but in radiology art, the cool thing is that you have untouched objects.

Moritz Albrecht

So this is how the pomegranate in its vital beauty looks like when you would go through it. And we tried it afterwards and we just were saying, okay, this looks so much different than the normal slice. And I think this is also pretty fascinating.! Yeah. Yeah. Yeah. Yeah. Yeah. This looks more, I would say like candy, or that's what people tell me, that they think it looks like candy.

Moritz Albrecht

A bit more extreme form of the color chart serotonin series. And this is a very important piece for, in my opinion, this was when I was actually reporting the intensive care chest x-rays during the whole pandemic. And when you sit there as a radiologist, you are seeing the severe cases all the time. And it's really like severe COVID, fatal COVID, severe COVID, fatal COVID and so on. And it becomes so repetitive that you really have an idea about this quantity of a pandemia. Yeah. And then I thought I have to do an art piece out of this and to visualize what actually the situation in the hospital and healthcare system looks like. And you see here severe COVID cases and it's, and 154.

Moritz Albrecht

And when you go, when you step back, it just looks nice. And people say, this really looks beautiful. And Yeah. But when you come closer, you will have the same time and you think like, oh my God, this is really like, this is how severe COVID looks like. And at the same time, I tried to make it look like a prison that kind of captures air because this were when the shortness of breath comes in. And yeah, for me, it's just a witness of the situation during the pandemia and the healthcare system.

Moritz Albrecht

Yeah. And also, it took quite a long time to craft this. More neutrally also, I am very fascinated of shells, for instance, because with x rays, I did this with a friend of mine, Dagmar Sobisch, in a very productive x ray session. And x ray revealed this symmetry or in this geometry of the shells. Yeah. And it was very nicely.

Moritz Albrecht

And we photographed a bunch of shells here, also other pieces that will be published on the Instagram channel. I want to round up with this piece here. This is contrast enhanced MR, a magnetic resonance angiography scan, and it shows different time points of circulation. And it was very cool. So you see here the pulmonary circulation, then it goes into the aorta. On the second one, you see also the kidneys are opacified already, and at the last images, the veins are filled with contrast media. So this is kind of a circulation through the body. And this is what we do as radiologists all the time. And I always thought there's so much beauty in these images.

Moritz Albrecht

This is not only... So for me, it was always clear that this is also an artistic moment hidden in these images. Yeah, thank you for your attention. And then I would like to just give a very brief...... Overview over the digital gallery and maybe pick up some interesting pieces from other radiology artists if there's still time left.

Moritz Albrecht

Is okay? We... I think there was one other person that still wanted to present before the end of our salon today. So we have about 18 minutes or so I think left. Yeah sure. But thank you very much for your presentation. Okay. It was really great, actually. As someone that's actually gotten several radiology scans over the years because I had pneumonia constantly as a child, I actually wanted to collect some of the imagery when I was a kid, but they didn't let me keep any of the CDs or anything like that. Yeah.

Moritz Albrecht

But it was nice to see. Absolutely. And nice to see someone taking the time to create art out of it, too. That being said, I do want to have Lily have the opportunity to present. So hopefully, maybe we will have a little bit of time afterward. And if not, we have a little after recording session where if you want to stick around and answer any questions and connect and socialize with people, that's still a thing. So we might not be recording during that time, but you still have the opportunity to connect with people. So just keep that in mind. All right.

Moritz Albrecht

All right. So next up, we have Lily. So Lily, if you're here, can you hear me? Yes, no, maybe so. Lily, are you there? Are you talking about me? Yeah, are you going to present your art? Yeah, you can just do some presentation. Oh, okay. I didn't actually prepare. I didn't know I should be. I didn't know nobody ever told me. Oh, I'm sorry. I thought someone was going to tell me. I thought someone was going to tell me. Someone said that you wanted to present today. So my apologies for that point. Yeah.

Moritz Albrecht

You know what? There was an artist, Lindsay Kakoposka. She had emailed me, but I don't think she's in the chat. But she came in. She was a Canadian artist that wanted to present today. She emailed me, but I don't think she's here. So we might be able to have some more time for Moritz. So see, so there's a little bit of miscommunication there. So my bad.

Moritz Albrecht

Sorry for putting you on the spot, Lily. One quick question for Moritz. Yeah. Where in Germany are you based? You're muted, Moritz. You're muted. In Frankfurt, just in the center of Germany. So. Also beneficial when I try to visit my American friends from time by time. Actually, not in the pandemic, but before I was regularly flying over and because of the airport, very, very nice in that regard.

Moritz Albrecht

Thank you. Does anyone else have any questions for Moritz? I'm scanning the chat. I didn't see any unless I missed something. But yeah. Did you want? I'm going to try to present something else like the some of the gallery images that. Yeah, of course. I would love to. Is that cool, Davo? I guess we have a little bit more time. Yeah.

Moritz Albrecht

Okay. I share the screen again. Yep. Can you see the gallery? Yeah, I can see. Okay. Yeah. Yeah. So I will skip, of course, all the things I already. So this is not only art involved in the permanent exhibition that is actually using radiology technology, but also illustrating radiology technology. For instance, this beautiful painting from Rocco Valente from Italy shows this gentleman with a coronal.

Moritz Albrecht

So we call this orientation coronal in radiology. Emerald. And I think at the same time you get this discrepancy. You have the feeling, okay, it's just beautiful. At the same time, you are intimidated a bit. And the thing also, oh, my God, looks quite intense, I would say. This is a friend of mine, Christoph Wachowski, who did this painting actually with colored contrast media. So the contrast media is this agent. And this is the agent that we inject in diagnostic radiology.

Moritz Albrecht

And afterwards, he did an X-ray of the painting. And I think it's fantastic to see that the X-ray looks even nicer than the painting itself. Again, that X-ray shows another dimension in radiology. Or this beautiful piece from Steve Miller, The Law of the Jungle. It's fascinating that you see the mouse within the snake.

Moritz Albrecht

I wonder how complicated it is to get actually a snake that has just a mouse. Or here from Fanny Viveros. She was simulating Da Vinci's God's Hand painting with X-ray. Okay. And this is actually the... The only artist in the gallery that I know personally at least about that he is also a radiologist. He's a neuroradiologist from France, Denis Ducreux. And very interestingly, he uses MR tractography. This is a specific MR technique that knows all the neuronal networks in the brain. And he makes collages out of it. And I can definitely... I can definitely recommend this website. It's fantastic what he does with MR tractography.

Moritz Albrecht

And for instance, this was just an MRI of an apple. But you see this beautiful network of vessels within the apple. It's made from Sofia Santos. And from Steve Miller, Fishbox. Or did you know that an egg has this? Fears? So that's why she called it also fears. I didn't know that an egg looks inside like this because normally you crash the egg and then you have the egg plain but actually the untouched egg. And this was actually not even an MRI. It was a CT.

Moritz Albrecht

Or Michelle Driver here. She did handwoven X-ray films. Also interesting approach. Use X-ray films actually. And the gallery features a lot of digitally painted radiographs, for instance here from Russia from Katerina Yeremenko. Or this one since looks, this is a red mandible from Tommaso D'Angelo from Italy.

Moritz Albrecht

Also interesting, it looks almost like a traditional painting or drawing actually. I mean, this is a huge mural artwork from Iran actually. Her name is ran, the artist's name. It's three meters high from Tehran. And let's see, yeah, this is also a text question from Andrew Reach. And he sent me this beautiful art piece. And it's also on his Instagram if you want to check it out.

Moritz Albrecht

And again, I think this MR Tractography by Denis Ducreux is very fascinating. Interestingly, this one is not even modified. This is how our limbic system, that's at least that how he told me, this is how our limbic system looks like. But if you reconstructed this with advanced softwares and you play around with the color coding, then you can come up with beautiful radiology art pieces like this.

Moritz Albrecht

Or this is actually an X-ray of a balloon with contrast media in it. And also interesting how you get this three dimensional appearance. So you can exactly feel, okay, this looks like a balloon, but I thought the idea to put contrast media in a balloon really interesting from Mark Wright. Well, let's see, this is from Catherine Candiff. So she put a digital collage from an MR, sagittal orange. And this is a very interesting representation with the, I don't know actually the name for this animal.

Moritz Albrecht

And I think, yeah, this is from Alison Roof. I think a very interesting piece to visualize what pests actually would look like. I think in earlier ages, this was associated with shortness of nutrition and everything. And I thought it was very interesting that she made this collage with the hands resembling the wings of the bug.

Moritz Albrecht

Yeah, this is one thing I didn't include in the presentation from myself. It's very interesting if you have body parts, but in the 3D reconstruction process, you will just put some material into it. But of this is actually a spine with clavicles but for me it looks beautiful like a buffalo. It's also very calming when you look at it I would say.

Moritz Albrecht

Or did you know that grapes in CT look also quite like balloons? I think this could also be almost pop art. Tauben means grapes in German so this is again from Sophia Santos. And there was even an article in 2012 so if you want to have more literature you can also find the link on the website. Yeah this was pretty much it I would say.

Moritz Albrecht

It's still growing and it's really my passion to create this. Thanks that I could present this to people. Thank you it's amazing and the pieces of art that are equally amazing. Well presentation actually. So thank you so much for that. And this was a virtual exhibition or? Yeah this is a permanent virtual exhibition.

Moritz Albrecht

And yeah it's supposed to have that radiology artists can share their work there that they can provide some kind of a visual representation of the work. Yeah absolutely. So I hope that this facilitates the connection and the exchange between radiology artists because in my experience it's like many people do art with this but not many people are actually aware that this could be a little new branch of modern art. And when they see my website there's also this email address online.

Moritz Albrecht

Where they can submit their work or I ask them if they would be interested in exhibiting this for a greater audience and it's a very productive and fruitful project so far and I hope that yeah it would be I was actually very happy when I get first in contact with Expressionism and I just thought okay this is just perfectly representing what I'm doing and all these other art works. So yeah I think it's just a very cool way to kind of share what artists do and yeah so. That is that is a very common thread once people find out about us that have been doing that kind of art they feel right at home. That's a very common thing.

Moritz Albrecht

We are actually right here at the very end of our recording time. Colin did you want to try and share something really quick or? Yeah I guess so why not I don't have a pdf I'll flip through really quick. So yeah I just wanted to share with you guys some stuff that I've been up to lately with these pencil drawings I've been doing so let me just share my screen here.

Moritz Albrecht

All right move that out of the way. So yeah so I've been playing with this plotter that I got a while ago. And that is actually a ramekin sitting on the top of it which is pushing down on the pencil to keep it drawing when the lead gets low. And then so I've been sort of experimenting with these different forms and I really like I've been having a lot of fun with it you know bringing it back to pencil on paper. Some of the work is photo based this is an image from sort of like a wetlands thing. That's just down the street from where we live now. Oh your screen isn't being shared yet.

Moritz Albrecht

All

Right there we go that seems to be a recurring issue with me. So yes so here's the plotter in action it's got this sort of like weight on top of it to keep it going. And then these are the first sort of drawings that I've been doing. They're just the first couple or so. So I've got a little bit of a sort of abstract here. It's a detail.

Colin Goldberg

And this one is on sort of like a more brown sort of craft paper. It's a Reefs BFK paper. That's it's like a rollerball pen and metallic ink. This is another pencil one. And there's a self portrait. Portrait of my daughter. Some more abstract stuff. So and this is the most recent one. This one actually was drawing for close to 24 hours.

Colin Goldberg

There's a detail. And it's been a lot of experimentation. Basically trying different types of lead, different types of pencils. But yeah that's just kind of what I've been working on. You know that I share with the crew. But yeah anyway. Well that's great. Well thank you for that. Yeah I've been keeping track of those drawings too. I was like oh man. I need more tools to play with too. But I don't have any. Sorry.

Colin Goldberg

So we've got two minutes left. I think we can go ahead and start closing things out. Thank you so much for everyone that was in attendance today. Thank you so much for our presenters today. If you did not actually have a chance to ask a question. If you have any questions that you would have liked to have asked. I apologize. We ran a little bit over for time with our presentations. But we still do care about you. And if everyone that presented today you can reach them directly in some shape or form. Their email addresses or their Instagram accounts are always available. I'm pretty sure everyone's open to DMs. And in case you want to just reach out to them directly to have your question answered. So there's that option. The other option too. Is. If you would like. You can always stick around to our post recording session.

Colin Goldberg

Where we just kind of you know just hang out and have conversation with one another. And yeah. So thank you so much for your attendance today. You are what makes this movement. This genre that we're creating amazing. And I hope I can see you all again next time in two weeks. So in the meantime. Just really quick before we stop the recording for posterity's sake. We're going to have our first physical exhibition. Which is a pop-up show happening in Brooklyn on Thursday, December 16th.

Colin Goldberg

You can RSVP at expressionism.com slash Brooklyn. It's at the Williamsport Hotel. And Giovanna Sun is the curator and organizer. So muchas gracias to Giovanna for pulling this all together. And I just wanted to get this on the. Recording. So if there's any one from the big apple watching this on YouTube. A couple days from now. Definitely check out Techspressionism.com slash Brooklyn. And you can see the lineup. It's going to be primarily NFTs.

Colin Goldberg

There should be some crypto investors and collectors. And some other interesting folks there. So if you guys want to stick around once we stop the recording. This is usually when we do have our little sort of community building session. And talk about what's going on. So yeah. Just wanted to get that PSA in there.

Colin Goldberg

I think it's a Williamsburg Hotel. Williamsburg. Williamsburg Hotel. Yep. All right everyone. For those of you. Thank you for sticking around. And we'll see you next time. Thank you so much for coming. Yes. Thank you very much to all the presenters. All right. Signing out. Take us out. Yeah. Countdown. Yep. Absolutely. So signing out in five. Four. Oop. Three. Three. Yeah. Two and one.