Salon 42 // Techspressionism: Digital and Beyond, International Reception

Hello, hello, hello everyone and welcome to a very special text question is a virtual salon. Today, it's very special because we are actually going to do a live walk through our physical exposures exhibition that we have been working on and planning on for nearly two years now I think it is finally seen fruition and it's finally live and people can finally go there. And the name of this exhibition which is called Techspressionist and digital and beyond myself and several 90 plus other artists are included in this wonderful exhibition.

Davonte Bradley

And I'm going to kind of cut my, cut my time talking here short so that we can dive into the people that are on the ground, so to speak, with the exhibition, so I hadn't thought to Tom and Ross.

Hello Davos. Hello and Colin and all of you. Welcome. We're here in Southampton and I want to first before we go through the show just want to introduce Tom Dunn, who's the executive director here, and we are just so happy that they have sponsored the show and we're excited and I just want to let Tom say a few words to everyone.

Excellent. Well thank you, Ross. Thank you, Colin, thank you to the entire expressionism community. Again, my name is Tom done I'm the executive director of the Southampton Art Center. We are thrilled to be here. I'm thrilled and honored to be sharing this exhibition with them as a signal flying overhead. And it's beginning to rain so we'll go inside and just a quick second but we are so thrilled to host and co present this, this installation this exhibition.

Tom Dunn

A quick word about Southampton Art Center we opened our doors in 2013. We're standing right here at 25 jobs lane in the heart of Southampton Village. Art has been happening at this location for over 100 years. The Southampton Art Center is here, entering our ninth season our 10th birthday is going to be next year. We do five to six exhibitions a year. And we present about 150 175 programs across all disciplines film, dance, theater, live music. We've got three acres of gorgeous grounds here in the heart of Southampton. We've got the Southampton Art Center.

Tom Dunn

Yeah, we go. And thanks to James for the quick spin around tour. Yes. I would be remiss to not share with you all if you are interested in supporting the work that we're doing. We're in the midst of our spring friends membership drive at Southampton Art Center.org slash friends if you want to become a member and a supporter of our of our great institution. I want to leave it at that I want to thank Colin sincerely for assembling this beautiful show. So exciting to be connected around the world in 20 countries representing our country. Thank you all so much for spending this exhibition. And without him and hand it back to Ross to walk through the exhibition. And I urge you all to come see us in person here at 25 Jones Lane in Southampton Village Thank you guys very much and have a great great too.

Tom Dunn

I'm going to jump on as I hit my next obligation.

Thank you so much. Thanks guys. Thank you.

And there are workshops and other things coming up so check out their website because they're going to be walked through and tours and panels and also two things coming up to go along with the show. Here we go. Here we go. We're, we're here in the first room, and we're going to start with our mission statement on the wall here is involved clockwise.

Every age has its own technique you guys a lot of you've seen this. Can you hear me a little bit.

It's not really about me. So, that. So,

That. James to get that.

And then we go right into the first piece by. Still, thanks. Is with us today.

Davo.

Give me one sec. I do not see.

I don't believe. I heard pieces on the bench there yet the glitch bench.

Yeah, we've got the glitch bench here and it looks really terrific. And if you're good with that Colin and Davo I'm going to keep going. Right. We have a wonderful piece here by Joseph and that default. As we all know it's been around a long time. If anybody If anybody wants to say anything.

Yeah, I don't believe Joseph is here with us tonight, but this is a piece that was created using computer viruses. And it's in a collaboration with a composer. It's a visual piece, and there's an excerpt of it on the website. So if you go to Techspressionism.com, you'll find on the homepage, there's an artist list. And each one of the artists' names is hyperlinked to a page with their work on it, as well as a bio and statement and links to their website and social media. So you could always jump on and find out more information about each artist on Techspressionism.com.

Yeah, we have to be careful that we don't get too close to the QR codes because of the... Going to go off into another world. So we have to be careful about this. All right. So thank you. That's great.

Oh, one second, Ross. I wanted to add something I just thought about. So if you do have a piece of art, a piece of physical art in the exhibition, or you're in the exhibition and you're in the Zoom chat right now, do please raise your hand so that you're at the top of the participant list. So I can be on the lookout to ping you, or Ross can be able to ping you as soon as you come up. Okay?

And I wanted to add also that each artist, if you weren't here in the beginning, is going to get three minutes to share on their work. And I will give a one-minute warning when it's one minute left.

All right.

Well, there you go. Moving on.

Two artists here. Steve Miller with a piece called For Another Way, Inkjet, Silkscreen on Canvas.

And I don't believe Steve is here in the chat at this time.

Actually, I am here. You are here.

Okay, cool. Yeah, yeah. Just thank you, Ross. Thank you, Colin. Briefly, this is part of a project. That was called Health of the Planet. And the idea was to take x-rays of the Amazon and give the world a medical checkup. Part of that process was looking at land use and use of resources. In this case, the chaotic wire confetti configurations in the slums of Rio. And this one's in Rosinia. It is also the cover of my next book called Surfing the Cosmos, which is going to come out in August in Glitterati Press. With a forward by Neil deGrasse Tyson. And the idea is that in this technological presentation, I'm layering the use of resources and trying to understand this sort of chaotic grabbing of electricity in the favela. And in the project, I bookended against the abundance of energy that's used in certain Switzerland.

Steve Miller

So you have here x-rays. You have here x-rays of plants that you're seeing close up. There's some bean pods that are actually wild native to the Amazon. Those resources are cut down and converted into electrical usage, which is sort of the dialogue loop of this particular painting.

Excellent. Okay. Coming.

Thank you.

Yeah.

Davo, you ready?

Yep.

Tell me if, feel free to guide me, Davo. You're the one. Yeah. I'm going to go ahead and start. And Morgan Spalter.

All right.

She's here.

I'm here. And you can see them behind me too in the great 3D walkthrough that anyone can use by going to the Techspressionism.com website. And these are four pastel drawings that are based actually on AI artwork that were created with a dataset that I put together myself with images of my own artwork. And I'm going to show you a few of them. Okay. So this is a photo of me and photographs of airplanes that I got off the web. And they sort of fight against each other in an AI process called a GAN. And they ended up making these really crazy compositions that looked like airplane crashes and UFOs. And I loved the compositions, but they were very low resolution, only 256 pixels across. So my solution was to blow them up and make them into pastel drawings. And it was fun using sort of cutting edge technology on one hand, but then rendering it with a very, very high resolution.

Anne Morgan Spalter

And I media for the final output and I'm going to be talking more about that whole process and my artwork and digital and analog on Tuesday May 3rd at 6 pm if you want to hear a whole lot more about my process thanks and

I wanted to add there's registration links to Anne's talk as well as the other talks that Helen Harris is running through the Paula Krasner house page at Techspressionism.com as well as the other salons that are going to be coming up

Patrick Lichty Techspressionist still life number three, dive on print on acrylic.

All right, let's see here. Yep, I'll unmute myself. Anyway, thanks a lot. This is actually the cover image for the Techspressionist 2021 global exhibition we did in Koontz Matrix. So I thought that I should do that. I think I'm really kind of looking at the idea of process as a way of being or an ontology. And so what I've done is I use a couple of artificial intelligence platforms. One is playform.io.

Patrick Lichty

And this comes from a large body of process. I basically manipulated in a way to see what the common elements were. And then also in playform, they have a take a sketch and try to turn it into some style, whether it's Turner or Modigliani or whatnot. And I had drawn several different studies and sandwiched about three or four of them and started playing with the values and such. This is really, really a big collage.

Patrick Lichty

So in general, what I'm doing is I'm kind of looking at the idea of my own mind as a generator and the GAN as a generator and kind of sandwiching those. And this is one of 24. And this is the first time that I've put this out in, you know, with metal print and acrylic, and I was very pleased with it. So I was very happy for the exhibition.

Next we have Mary. Are you ready Davo?

Who's that? Mary Ann?

Mary Ann Strandle. Titled streaming flowers to slash brain acrylic on 3D lenticular media. And you maybe can't see this, but they really have a certain kind of opaque and vibrancy and translucency really is the word I guess. Always get those words mixed up. And there's another one streaming flowers one blue.

And those pieces are created using basically a lens system that's overlaid on the image to create a three dimensional effect. And Mary Ann recently completed a large lenticular installation for the Uber headquarters.

Nice.

Excellent. Now we don't. And we're. This is a small one. But we're going to do a little bit of a small wall mount here of Susan Anchors pieces that are on the table. We're going to turn them out and go to them. They're plaster and resin and they're part of her Rorschach series. They all have different names here and they really are very intriguing collection.

And I don't believe Suzanne is here, but I could say a couple words about these because I know the background to create these. She took the original Rorschach plots and extruded them in a 3D probe. Called Maya to create molds. And then they were cast in plaster, which are the large white pieces. And then also as bronzes, which are the smaller pieces there.

Colin, it's great how much you know about every work. Excellent. All right.

Good job.

Front again. We're going past the front doors. We're going around clockwise

From the first room.

And we are here at Davos Peace. Let's talk about that first. And then Brandon S Gellis has a piece underneath. Hopeful ambition, digital print on metal. Beautiful.

Thank you.

So about

This one, this was created in a software called Krita. And it's combined two very important pieces of mine, as well as emotional states that I was in or currently thinking about, where the first one, Aspire, was kind of the pivotal piece for me that kind of kicked off my current style. Actually, Colin has that piece as a print in his home, in his studio. And the second piece that's kind of inlaid within this is a piece called Falling Hope, which was actually the first piece that Colin saw of mine on Instagram that got me to pretty much join the movement. So it was that piece that was able to kind of bridge the gap between what I was doing and what I want to connect with. And the result was being hopeful that my efforts and my craft are going to keep going further. So that's the title, hopeful ambition.

Great. Brandon Gillis is right beneath Davos Peace. And it's titled 182 Interacting Squares for Annie and Joseph. We know who they are, Albers obviously. 3D sculpture interactive art. And maybe Colin could add more. They're quite mysterious looking. Yeah.

I'll just read the little statement that Brandon provided on his artist page. Also paste a link to the artist's page in the chat. But what he said about this work was 182 interacting squares for Annie and Joseph is an interactive 3D printed LED sculpture that enables Annie and Joseph Albers to communicate posthumously. As viewers engage with its colorful cubes representative of Annie and Joseph's critical explorations in color and theory, the works two cubic sculptures communicate with each other. And they communicate through the language of light and color. The choice of 182 cubes addresses their long lives together and the combined age at which each died. So that's an homage to Joseph Albers, who's a prominent color theory artist.

Okay, great. Renata Janiszewska, the Imperial Heir, which is the cover for the, one of the covers for one of the postcards at this show, Outdoors. Digital output on a moon and dive on. Canada. Renata with us?

Yep. I have a great love of literature and there's a narrative quality to a lot of the work that I do. So I work at making titles that stimulate people into finding a narrative in what might look like to be works without characters. So in this work, you have the two figures and I think of them as father and son. And they are floating in a space that is not of this world. A lot of my works, I want to give the impression that they have a monumental quality. And that's why I put the textured clouds behind these massive shapes to give an illusion of depth and falling back into space. Kind of what I'm looking for is the feeling of the sublime, the sublime. The feeling of the great history paintings of the 19th century that were really large in scale.

Renata Janiszewska

And the shapes and forms that I used are very lush. And I use colour expressively. I use it extravagantly. And it's all backlit. So it's very, very saturated. And I haven't seen this piece in real life. It was printed in Germany and shipped to Colin's home. So I'm counting on people who were there to tell me that it looks okay printed. Colin likes it.

Renata Janiszewska

I'm really thrilled to be part of this exhibition. And I look forward to future exhibitions in real life as this one is with the Techspressionists.

Thank you, Renata.

And I wanted to make a note also that Renata is one of the founders of the Canadian node of Techspressionist artists. And a bunch of nodes have popped up over the last week or two, notably Canada, France, Germany, and Brazil to join the Iranian node. And it's a very exciting time that, you know, these international activities are starting to take place. So it's really cool.

Great. The next piece is Tor Borwell. It's titled Flunky Flux. It's a video. United States 2022.

And I don't believe Tor is in the Zoom. This piece is also an NFT. It's been minted on Foundation. It was created in Blender, which is an open source 3D rendering application. And Tor is also a high school senior. So I was shown his work by his mother, Christine Schooley, who created the site-specific installation for this exhibition and was just completely blown away. And I thought, you know, how cool it would be to include, along with Frank Gillette, who's in his 80s, and a video artist as well, an 18-year-old video artist. So here's the future, people.

All right. There you go. It certainly is the future.

Next we have Aldofino Corino. And this is titled RIMM, R-I-M-M, Oil and Enamel Painted Print, United States 2020.

I don't believe they're in attendance from what I can see.

Yeah. Aldofino is in New York City, I believe, or based in New York City. And his work, from my understanding, involves painting and then digitally printing the painting after manipulating it and then painting back into it and repeating that process multiple times. So it's a combination of digital and traditional media and processes.

Great. Next is Sean. Sean, I'm going to turn it over to you. Thank you, Sherry. I'm going to turn it over to Sherry Karver. Looking for the answers, dye sublimation print on metal, U.S. 2021.

Hi, Sherry. Hi. Hi, everybody. I'm very honored to be in this show. And I'm sorry I couldn't fly in for the opening, but I live in California, so it would have been quite a trip. This piece is called Looking for the Answers, and it's part of an ongoing series called Movement Interrupted, which I started way before COVID, but now the whole concept of movement literally being interrupted for all of us has taken on a new meaning. My work is really low tech. I'm harnessing data corruption glitches that are happening on my TV screen. So this is an actual photograph. I photograph my screen when it pixelates and breaks up due to uneven results. I don't do anything else to this. It's not created in Photoshop. No algorithms. It's an actual photograph. And I have it printed as dye sublimation on metal because I really feel that metal substrate shines through and really works well with contemporary digital technology.

Sherry Karver

So thank you for putting me in the show. Looks great. The whole exhibition looks absolutely amazing. It's actually beautiful. Thank you. Thank you, Sherry.

There's a moving image. Some of our stuff comes up here. It's just their moving display behind the front desk. James, are your arms okay? Do you want to switch with me a little? Because you're holding up this item for a long time.

I'm good. Thank you.

I wanted to just quickly show a few things. The invitation card at the front desk, really nice. And also Michael Piotrczyk's work is on the back of the front desk. And I know there are more workshops and things coming up soon. So they're really good at doing quite a job here.

And if you do end up picking up that postcard with Michael Price's work, it actually has an AR component. So if you look at the postcard's cover, the main image on the front side of it, with the Arloopa app, it actually animates into the postcard. And it's an animated piece that I believe was created by... Yeah, it's Arloopa for Michael's work. And I believe, I'm not sure the name of the artist. It was actually another artist in the group that did the animation work, I believe. Cool.

Great.

Can I interject? It was Lucy Boyd Wilson.

Thank you, Michael.

And Michael, we'll get to your piece later. But we're going to go into the second room.

And we're going to go straight through to the back.

And then we're going to go around, first, Michael Rees's sculptors

Here, these inflatable sculptors. And then we're going to go back to Collins and then go around from there. But is Michael with us? He was at the opening.

Michael's teaching.

I don't, yeah. But yeah, just briefly, these works were composed in a 3D modeling application. I believe they were... They were fabricated in China. They're one-offs, one of one. And there is an augmented reality or AR component to them in which if the work is viewed on a tablet, it might not be fired up. I'm not 100% sure. But there's some pretty interesting things that happen on this particular piece. I believe roosters start crawling all around the surface of the piece once the target image is recognized by the app.

Oh, Colin, do you want me to comment a little on Michael's?

Absolutely.

So there's both of the inflatables. Of course, they both have the augmented reality to them. And he emphasizes the idea of the... The technologically made representation and the animal representation. So all the ARs have either an insect or an animal in the AR, which he likes to... He uses this idea that are commensal, so that each animal that is represented is dependent upon humans and we're dependent upon the animal. That one, like you mentioned, is the rooster. So it goes from drawing to digital to machine-tooled to moving image to this relationship, again, to nature through the man-made and the human-made and the animal-made. So it's a really nice triad that happens with all the pieces. And then the other inflatable piece has the AR. And the AR is a housefly, which is also delightful.

Mary Ann Strandell

Awesome.

Thanks, Marianne. Yeah. And if you want to... I don't know if you were on earlier when Roz talked about your work, but if you want to say a couple words about your piece, which I see behind you, you're free to do so. I'm welcome to do so.

Thanks, Colin, for saying so. No, I'm late getting on. You can still see me. Oh, thanks, Roz. So just briefly, those are two 3D lenticular print media. And they are various depictions of the handmade from oil paintings, from a series of paintings that are based on paintings I did of porcelain flowers from museum collections that started in early pandemic. And I was really sourcing my materials for the subject matter. Specifically to have this sort of conversation that are these sort of universal representation of the flower. And then I also have layered in there many ink drawings. Of course, they're all virtual because in lenticular you work from the photographic image. You take a photographic image or algorithmic image and those are layered. So the striations and then the depth of what you see as you go further are these very linear drawings of construction sites from Manhattan.

Mary Ann Strandell

So it's another kind of interesting combination of nature, architecture, and then the movement really is activated by the viewer because the whole surface is an optical lens. So they're very playful. And that's all I should say. This in my studio was a proof that I couldn't, this one was rejected for the piece. But yeah.

Mary Ann Strandell

And there's that piece of Collins. I love that piece. That's such a hot piece, Colin.

We've gone to the end of the second room. And thank you so much, Suzanne. I mean, no, I can't remember everybody's names.

Mary Ann. Mary Ann.

Yes. And I saw you at the opening. I'm sorry we didn't speak a little more. No, it's okay.

Yeah.

So we're going to wrap up. We're going to the back of the room to this piece. I believe it's Invictus, isn't it?

That piece there is actually, it's called Kneeling Icon. And it is a digital monoprint on vinyl. It's six by eight feet. And it was originally drawn in 2004 in Adobe Illustrator. And is now basically a physical object. That is also the trigger for an AR experience. So if this work is viewed through the Arloopa app, I'm sorry, the Art of Vive app, it actually animates and turns into an animated NFT on the wall.

Colin Goldberg

And I guess I could share briefly. And it was called Kneeling Icon basically because multiple people, when they looked at it, thought it reminded them of the Virgin Mary. And that was before the work was titled actually. So that's how I settled on that title, Kneeling Icon.

Now, will it work when I click at the piece, Colin, or no?

Probably have to be standing a certain distance away, right?

Yeah. Well, you would need to be looking at it through that Art of Vive app. I'm not sure if that, yeah, if that works. I mean, I could share my screen very briefly. And you could sort of see what it looks like. So this is the NFT series, which is called Metagraphs. And then this is basically what the work looks like. There's actually audio as well.

Colin Goldberg

But yeah. And then the two works flanking it, I could share briefly about while you have me on here. There's also two paintings in the show that are from my Wireframe series. They're acrylic and linen. Acrylic and ink shed on linen. Yeah. That one's Invictus. It's called Invictus. And that's the title of a poem that my dad really liked. So the two paintings are dedicated to him. He passed away this past year. And they're just sort of, you know, little snapshots of where my head was at when he was sick.

Colin Goldberg

And the other piece on the other side of Kneeling Icon. Is called Dr. No. And that's from the same series. And that was, you know, he and I shared a love of James Bond movies. The titles are just sort of stream of consciousness. Thoughts that came into my head after finishing the work. There's no real literal connection between the paintings and the titles per se. But each one of them is mostly painted with a palette knife. And then I run it through a large format printer, the printer behind me. And then paint back into it multiple times. So sort of continuing the tradition of the pop artists in terms of combining painting and printmaking.

Thanks, Colin. And we go on to Paul D. Miller, a.k.a. DJ Spooky. Satyris Parubus, variant one, pointing, United States 2022.

And I don't believe Paul is on the Zoom. I know a little bit about this piece. It was produced at a robotics lab in New York City. Let's see.

It looks like there's some kind of mathematical equations in the background here. You can see.

Yeah. Paul has been working a lot with he's an artist in residence at Yale right now. I think a lot of his work deals with sort of algorithms and thinking about, you know, how those sorts of, you know, mathematical functions might affect society. The painting was actually 3D printed at a lab. It's called Art Matter, actually, the name of the lab, which I believe started out. We had to move it out of MIT and then moved to Brooklyn.

Great. Thank you. Cynthia Beth Rubin. Plankton Universe is the top piece. Mixed Media Digital Analog 2021. And then the second one is Coke Pod in a Red Sea. Mixed Media Digital Analog 2022. And I hope Cynthia is with us tonight. She is.

I am here. I made it. I'm so excited to be here. Especially since unfortunately I couldn't come. I had to make a quick change of plans and couldn't come on Saturday. So combining Plankton and Hebrew manuscripts are very disparate elements that one would not normally think of putting together. And I'm not sure why I thought of putting them together. Except that this is what the digital world does. After I've been digital since the early 80s and packed up my paint in the late 80s. And the idea of combining and recombining things and forcing them to work together or letting them speak to each other and letting the commonalities emerge really is coming together for me. And these two pieces are on paper because they actually mark a return to drawing. But they've been in and out of the computer multiple times.

Cynthia Beth Rubin

Which is what I hear from a lot of other people. That they're using a more traditional medium and then digitizing and back and forth. Obviously being digital allows me to use complicated motifs from a Hebrew manuscript that was done in old Cairo in the year 1008. That is more than a thousand years ago. I don't read the Hebrew. So I've had to rely. I don't have a lot of time to rely on another artist friend, Leia Caroline, who I will thank, even though she's not on here right now, for helping me a little bit, guiding me. And I work with the Bend Endura Lab at the University of Rhode Island. So I basically, I've thrown a net in the water, I've gathered plankton, I've looked at them under the microscope. But I learn a lot more by using the plankton that they're studying because then I can attend the lab meetings and actually learn the science from them.

Cynthia Beth Rubin

And I'm not sure why I'm doing this. But I think it's important to know that plankton are very important for life. I recently spoke about these pieces in this series at another show and the curator for that, Amy Kennedy-Levine, came up with this great phrase that these are about the building blocks of life. So the plankton and the Hebrew letters begin to feel the same as you go through this. And plankton are absolutely essential for existence. They provide more than 50% of the oxygen that we breathe. And of course they're the body's oxygen. They're the bottom of the food chain. So without plankton, we cease to exist. And some of us might feel, I mean, in the general sense, that without a link to history, without some kind of link to what people were doing a thousand years ago, where are we?

Cynthia Beth Rubin

So for me, that's kind of what they are, the mysteries there. And I think you can see them a lot better on my website. Unfortunately, they are behind glass. So I'm not sure. But I think they are. So please look at the website. And thank you again. This is the most exciting show ever for a long time. Well, for a really long time at least.

Cynthia Beth Rubin

It's code.

Thank you, Cynthia.

All right. That was put on in what, 1995? Yes. Correct.

And there were a lot of other, there were several other big blockbusters during that time. Not many. Gregory of Italy. All down at dawn. Digital print. U.S.

2022.

And I don't believe Greg Little is here in the Zoom. But Greg was actually my graduate advisor and also the graduate advisor of Patrick Lichty when we were at Bowling Green State University. So we did our MFAs together in computer art. And Greg was our advisor. He has a really interesting background. To me, this piece, this piece, I really enjoy looking at it because it really reads like a painting. He did his MFA in painting at Yale, actually. And then got more involved in technology art kind of later on in his practice. So the work, I believe, was originally composed digitally.

Colin Goldberg

Then he had laser etched it, I believe, onto a surface. Painted into it. And he said, you know, he eventually just completely ended up really executing it as a painting in its topmost layer. But there is sort of an invisible digital hand underneath.

Wonderful. We have a whole body of work of, I think it's 12, how many artists? It's 12 artists. From different countries. Colin, maybe you want to speak to this?

I can read the labels.

But I don't know which way is best with this.

Yeah. So maybe if you could read them. I know the countries. I'm not 100% sure of every single artist's name or title offhand.

So we have Tomas Vavia, Squared Sun. Digital Monocast. I think these are going to be the combination that they're in. Yeah. Brazil, 2018. It's wonderful how international this is. And then we have PLY, Ply 300, Untitled. I guess Ply 300 is the artist's name. Mixed Media, United Kingdom, 2022. Right here.

Roz Dimon

Sahar, Nusavi, certainly seen online. I know some of us have. The Black Heart. Digital Monocast.

I think Sahar is here.

She's here. Hold on. Give me one.

Sahar. Iran.

I got you on the spotlight, Sahar.

Hello. Hello, everyone. Can you hear me?

Yep.

Hi. Hi. Thank you so much, Colin, for the amazing show. And thank you for including me. I'm so honored. Most of all, thank you. And I just want to say a little little thing. I can'tout. I can't. I can't. I can't. I can't. I can't. I can't. I can't. Glitch program and then collage them together. And I usually like to have a different texture and material and change them in different apps. For example, in this piece, I really like the long exposure photo that I used. I changed the material when actually I converted it in black and white and it changed. I really like the movement and the texture.

Sahar Moussavi

So that was my piece. And I named it afterwards, after I finished the work.

And Sahar, what time is it in Iran right now?

It's 2.43 a.m.

Well, thank you. I think we need to keep these things in mind.

You're welcome. Thank you. Thank you, Roz. Thank you, Sahar. Nice to see you. You're welcome.

And the next three are Hayide Jamshidai. I hope I'm saying the name correctly. James, can you get on over here so we can just see for a minute? Doing a great job. Digital Arts Cinema 4D Afghanistan.

Hi.

Hi,

I'm Hayide Jamshidai. And I made this piece in 2020 when I was in lockdown. So I started to learn new softwares and I feel I'm in a strange and unfamiliar situation. So I imagined a person that is in a, I don't know, planet, in a strange planet that is seeing a strange and unfamiliar object. And he don't know and he don't know what is it. Is it man-handed or not? Is it a nature object?

Hayede Jamshidi

So yeah, I made it. Sorry about my English.

Oh, you're fine.

Good.

Thank you for your contribution to the exhibition.

And I love the title of In the Middle of Nowhere. I think we all know how that feels.

In the Middle of Nowhere. And then I'm sorry, I may not say the name correctly. Tikwa or Tikowai Kuitenbrauer. Sticks and Bones Digital Monoprint on Aluminum. The Netherlands. Yes.

I do not believe he's here today.

Yeah, I don't think Tikowai is here. He was actually one of the first people to really get involved with the group. He was someone whose work I noticed and tagged very early on. And also, he has a couple of video pieces in the reel. You could also watch the exhibition reel on the web now. It's on the bottom of Techspressionism.com's homepage. And that's where you can find all of the time codes so you can find each artist's work within the reel. The reel is about an hour and 10 minutes long. So Tikowai's work is generally portraiture that involves double exposures.

Colin Goldberg

And he's based in the Netherlands.

Yes, Netherlands.

And the next one below it is Elio Ramos Colombe. Thanks, Ben. Paint Particles. Do you want to go first? Generative Custom Code.

Oh, we can't hear you Elio. I think your mic might be a little messed up.

It looks like... I don't know if you're muted or not.

He's not...

I don't think his mic is connected properly. Ah, okay.

Well, we can give you a minute and go come back.

Or someone else can do the description.

Oh, wait, wait. We got audio coming through.

Oh, good.

A little bit, maybe.

I'm not... Yeah, we're not getting the audio. But I can read the description that he provided. I don't know if it's Elio or Illio. But he... What he said was, in my generative work, I throw paint particle shapes and colors at random locations on the surface of the screen and use several mathematical concepts like the vector field to add deterministic movement and other techniques like recursion and colored gradient to introduce variety. The continuous layering of particles and shapes suggests what I feel is a contradictory and tedious balance between repetition and variety in my daily life and creative practice. So this, I believe, is a generative piece. And all of these works in this grid are fabricated on white aluminum. They're one of one digital monoprints. And they're digitally signed on the back.

Colin Goldberg

So basically, when I created this set of works or conceptualized this component of the exhibition, I created a web form in which the artist uploaded high res images and also digitally signed the work using technology similar to DocuSign. The signatures were then printed on labels which were adhered to the back of the pieces. And they're numbered one of one. So these works are all available for sale through the exhibition. And 60% of the proceeds goes to the artists and the remaining 40% goes to the Arts Center. And if anyone's interested in purchasing any of the works in this show, you should go to Southamptonartscenter.org.

Colin Goldberg

There's a phone number there. There is going to be online purchasing. It's set up shortly. I'm not sure if that's online yet. But you can always call the Arts Center and inquire if there is particular work by any of the international artists or any of the other artists in the exhibition that you're interested in.

So there are actually 15 pieces here. The next in the middle top is called Tear Apart, Digital Monoprint on Aluminum. And he's from Russia, 2020.

And I was in communication with Munf. I believe he might be in the process of leaving Russia at this point. But very interesting to see that we have both a Russian artist and a Ukrainian artist represented in this grid of works.

Here's the Ukrainian artist. Sorry,

I'm here.

Excellent.

Okay.

And the one below.

I think we actually have Munf in the Zoom, Roz. Munf, if you'd like to say a few words. Michael? Hello? Yeah, yeah. Hello?

Do you hear me? Yep, we hear you. Oh, hello. Thank you for this chance to take part in such a great exhibition. It is really important for me now. A few words about this work. This is a generative artwork made with a software called TouchDesigner. The main idea of this is take some chaos, some random movements into the generative composition. And to go beyond the surface. So, maybe some figurative art. And maybe have this futuristic and some alien aesthetic.

Michael Mesiats aka Moonth

To find something that's more than human aesthetic. And express some transcendental feeling in this kind of work. Sorry for my bad English. But I think it's a great work. Thank you for this great chance.

Thank you.

Thank you. Thank you for joining us. And, you know, you're more than welcome to join in future salons as well. And this goes to anybody who's on this Zoom. They're open to the public. And they're held every two weeks on Wednesday evenings at 530 Eastern Daylight Time. Thank you. Thank you.

And below that we have Guillermo.

Guillermo Arias-Mondi from the Canary Islands. The title is 100921. It's a digital monoprint on aluminum.

And I don't believe Guillermo is on the Zoom. But he has a very large body of works. This work particularly spoke to me. In the context of abstract expressionism. And that sort of visual language. Really interesting artist. You should definitely check his work out. And I just pasted a link in the chat there. I believe they're all composed completely digitally.

Cool. And we have Lucy Kraljkova. Grandpa's Watch, Inherited. Digital Collage, Czech Republic, 2020.

Hi. Thank you once again for having me at the exhibition. This one is a digital graphic I did inspired by a period of my life when I suffered from eating disorders. This is basically a collage which is composed of photos of my personal belongings. As the name of this set. It's my, for example, my grandpa's watch.

Lucie Králíková

These small things together can define my life. And I think it's very important to define my life as a person. And the collage is shaped into women's corset. And I use corset as a symbol of self-restriction. And for me, it also has really feminine connotations. And at the same time, it feels a little bit erotic. So I really like these two things together.

Lucie Králíková

And I think that's it for me now. Thank you.

Thank you, Lucy.

Malavika. Hello. Malavika Mandal Andrew.

Inspiration and Realization.

Digital Monocrystal Aluminum, India, 2022. And I knew that was Malavika. We've spoken on our

Interview video. Yes. Thank you, Ross. It was a pleasure. Giving my interview with you. And thank you, Colin and Helen for the lovely, beautiful exhibition. This particular work, Inspiration and Realization, is specially developed with different photographs and scanned images. And always my inspiration is elements of our life and us. And along with that, now the sixth element is the technology without which we cannot survive.

Malavika Mandal Andrew

So we are always taking inspiration from our nature and surroundings. But we are not aware of the real, means where we are to work. That's the first thing. And then the third thing is that realizations are endless. So that I have tried to show. And my process combines layerings through Photoshop. And when I'm using this medium, I feel that I am building like a sculpture. Each and every part I am creating. And I'm turning. Which I cannot do it in the painting. Which is only possible through because of this technology.

Malavika Mandal Andrew

So I'm glad that I'm part of this exhibition. Thank you.

Thank you, Malavika.

And next is Felix Rothschild, ELSA, Aluminum Monopolis, Germany, 2021. And he puts... This is ongoing. Maybe this is in process. This series.

I don't believe Felix is here. I can read his statement. He's I believe from Dresden. And he's one of the founding members of the German node. Him and the artist next to him, Eyecatch. So he says, my work incorporates glitch techniques, machine learning, photography, and 3D. Exploring not only the world we live in, but also the world within myself.

Colin Goldberg

Technology has no boundaries and is the perfect playground for curious minds. Finding beauty in errors led me to glitch-related aesthetics. This has enabled me to express my feelings through my work and help to understand my surroundings better. Humans are incredibly complex as are machines and algorithms. I'm interested in the uncanny and disorienting sides of visual digital technologies as they interrupt more true reality. I'm interested in the traditional perceptions of self, order, and place.

Beautiful.

Meltdown Love is the artist. Media disease. Print sees eyes. Digital monoprint on aluminum from Ukraine, 2021.

.!

Meltdown Love is not, I believe, in the Zoom. He also goes by Demian Furley, I believe. And what he says about this piece is, this is a work from my media disease series. In the era of social networks, other people's ears, eyes, and statements are present in almost every moment of our existence. Imagine that your whole body is covered with ears that are constantly listening. Eyes that are watching all the time and mouths that endlessly speak out.

Colin Goldberg

And I know that Meltdown Love also creates work in a variety of media, NFTs, as well as digital and electronic music. So if you're interested in supporting Ukraine, you can certainly support and directly support a Ukrainian artist by visiting his page, which I just pasted in the chat. And there's links off of there to like his Instagram.

Colin Goldberg

And I think his Instagram has a link to his link tree, which I will also paste in the chat in case any of you guys are interested in looking at what he has online.

The next is Philippe Ormiere. His piece is called Ceté Couché de Soleil Magique. Digital monoprint on aluminum, France, 2021.

And Philippe also, I believe, is not on the Zoom. I'm just going to pull his page up here. And he is one of the founding members of the French node that just went online recently. What he says about this piece is, I take a photo with a camera and perform transformations on a smartphone. The result must have meaning. A soul. When I create, I feel like the soul of a DJ, recomposing a new score from existing songs. The starting point is real and recognizable, then it derails in the right direction to become a poetic and magical graphic creation, which gives emotion to the spectator.

Nice. Thanks. ICatch is next. And the piece is called Shape Shifting. Digital monoprint on aluminum, Germany, 2018.

And I don't believe iCatch is on the Zoom either. I'm just going to pull up her link here. And this piece in particular, I think, was one of the ones, the early ones that I shared to the Techspressionism Instagram. Definitely caught my eye as far as the treatment goes. You know, it really feels like cubist work to me, but with the digital sort of flavor to it. Very cool. And she's a co-founder of the German node, along with Felix.

Great. And the final piece in the bottom right is Alessio Sanna, Geometric Tales, Digital Art from Italy, created in 2021.

And I'm going to turn it over to you, Alex. Thanks, James. So, this is a work by James Alessio. I think also is not here. What he said about it is the work represents a complex plane of geometric shapes that undergoes a fluid shift. This results in a contrast between form and movement. An altered perception of the usual patterns from a different point of view.

All right. Great. That's a really powerful block of work. And I think James has captured the whole thing. Maybe one last look from here. Just to see all of them together.

They really have a nice dynamic tension. Beautifully curated.

Next is Oz Van Rosen, who I believe we saw her bench in the front room. Power of Beauty and Youth, Next Media, United States, 2021.

And Oz, I do not believe is in the Zoom. I'm going to paste a link in the chat to her page. And you guys could find all of these links off of Techspressionism.com's homepage, the artist list. Oz is one of the founding members of Techspressionism in the sense that she was at the very first salon. It's kind of a blurred A blurred line, really, when you talk about founders, because I think that there's plenty of people who have been involved early on that really contributed greatly to the formation of the group. But Roz was here at the very first salon where it was myself, Steve Miller, Oz, Patrick Lichty and Helen Harrison. And we sort of formulated the definition and kind of came up with a game plan to develop the concept. So that's a digital piece of Oz's.

Colin Goldberg

And she just said about that piece in particular, trans-historical art is the blending of the new and the old. It is a way of reliving the history of art and keeping it topical and contemporary.

Great. And we go on to the inimitable and only Tommy Mintz. Automated digital photo collage, Chelsea. Foods. Dye sublimation on aluminum is the top piece. 2018 in the bottom is automated digital photo collage, 23rd Street and 8th Avenue. Dye sublimation on aluminum, 2016.

Awesome. Thanks, Roz. Those look great on the Zoom. Hi, I'm Tommy Mintz. I'm a lifelong resident of New York City and a photographer. I'm interested in conveying the energy and movement and rapid pace of construction, displacement and

Efforts

Of preservation, both in the physical world and digital world. There are parallels in our anxiety of the increasing amount of information being retained or possibly worse, lost. Most recently, I've been working with this program I wrote called the automated digital photo collage. I wrote it in Python. It's available open source on GitHub and you're welcome to download it. What it does is it compares a sequence of images for areas of difference and then creates a collage of those detected areas of difference.

Tommy Mintz

I don't know. I think that's all I have to say. Thanks,

Tommy. Thank you so much.

Thanks, Tommy.

And now we come to our media screen, curated by Colin, NFTs, digital still images, and time-based works. Artists in order of appearance. It's a lot of artists, so I'm not sure I'm going to say every one of these. Well, I could.

Read them fast.

Read them fast. Patrick Dickey, Andy Thomas, Dean Stein-Hassenroff, Tquok Mugrower,

Bernardo Mugrower, and John

Steven, Victor Acevedo, Skywater, Dove Woman, AKA Giovanna Sun, Sue Beyer, Mark Petruvanos, Le Chat Noir, Lee Schnever, Prince Bernoullia, Vicente Rivera, Michael Poluconis, Michael Borras, AKA Sistame, France. Well, they're all from different countries. Sean, let's see. Yes, Sean Mitt, Stephanie Sydney, Nezrin Solomay, Karen LaFleur, Randy Musischewitz, Janice Randenburg-Lee, TinTan23x, Jan Swinbur, Frederick Pons, Diana Diavola, Lee Day, Susan Wong, Nina Sobell, Dana Jones, N3T4, Sanjin Lee, Cynthia DiDonato, Reese Schroeder, Sarah Song, and Andy Wolman, and Colin Goldberg.

I think we only saw Victor's on that one, and they scrolled. Should we stay here, Colin, or go around?

Yeah, well, what we can do is, I know that there's a couple people in the Zoom who have worked in the reel who are represented with digital work. I know there's Victor, Nina, Sistame, I believe, Karen, I'm not sure if there's anybody else, but I would like to give each one of those artists an opportunity to say some words about their work as well. And what I could do is I'll share my screen when each one of them talks, so you could see what the work looks like, maybe.

Colin Goldberg

So would any of you guys like to go first? Or I don't know if I missed anybody.

Anybody that's in the reel? I'm not sure if you came in later, but please do raise your hand if you're included in this so that we can see you and make sure that we try to get you.

Victor, I think alphabetically would be the first.

Okay. You can hear me okay? Yeah. All right. So, yeah, I was really, what a happy accident. Who could, you know, what are the chances after going around, landing on my piece, on the video reel? So that was a lovely surprise to have it come on. And it's called Red Shadow, runs for about a minute and 41 seconds. And it's kind of an amalgam. It's sort of like a surrealist micro narrative, really. When you hear the music, you can see the music kind of helps move the narrative across that short span of time. And it's sort of like a, it's like a meditative and contemplative exploration in a way of a moment and perhaps a lifetime as a lifetime and memories of one's life could happen in a moment's time across a minute and 41 seconds. And the soundtrack is a jazz, sort of a free jazz soundtrack. And it's a little clip from a longer piece, maybe four minutes long.

Victor Acevedo

And the particular clip starts one way and it ends another. So that also helps drive the narrative. And I really enjoyed plucking that part out. It's composed by a friend of mine, Richard Wood, who is a prolific jazz composer. And what I can do is put the link to the full video, which is on YouTube. And it's of course is on the expressionist reel. And it's also, the video itself is available as an NFT on open sea, as well as about 20 stills from the, from the video.

Victor Acevedo

So it's been, I'm sorry, I couldn't make the opening last Saturday. I've been watching from afar, digging the excitement and it's been amazing. I could, you know, I wish I could have been there, but it's an honor to be in the show and really exciting. It's been amazing journey so far. And I'm, I'm looking forward to seeing what we can do next. And I think this show will reverberate for many decades, really as it's gets kind of it's landed now in the timeline of history. And it's a culmination of many years, many decades of, of all this collection of practitioners working for decades.

Victor Acevedo

Many, many of us and it's very much feels like a vindication to, to get into the timeline. And it feels it's very art historical. In its energy. It's a way I'm experiencing it. So. Kudos to everyone. Thank you, Colin, for. Spearheading this event. This happening. And thank you so much. Great to be here.

Thank you, Victor. Maybe Karen? Are you, Karen's here, right?

Yes, I'm here. Put my hand down for a second. First of all, so honored to be in this exhibit with everyone and the efforts that everyone has put together to make the show possible. The artwork that you're seeing here is an animation and you're seeing it about halfway through. It's about 55 seconds.

Karen LaFleur

I start with intuitive hand drawings and then from there it goes into the computer to Photoshop. Painted and expanded. And then from there, they go into motion for more expansion and drawing and then movement. And from there, they go into final cut. So it really goes from the intuitive hand right through technology in my work. I often work with a musician, Nancy Tucker. There's no sound in this particular animation, but most of mine do have music to them.

Karen LaFleur

My artwork in general deals with the synergy of interior worlds and exterior worlds and how they have a synergy. And I think that's one of the things that I've been doing for a long time. And I think that's one of the things that I've been doing for a long time. And I think that's and how each is expressed, which segues ways to Techspressionism beautifully in terms of using technology to delve deeper into those emotional or synergy experiences and express it deeply through technology. And the other thing I want to say about this exhibit is the dimensions that this exhibit can be experienced by. So there's the physical show. There's the visual show. There's the visual show. There's the visual show. There's the artist's reel. There's 3D walkthroughs.

Karen LaFleur

And each one of these experiences lets you explore the artwork in depth and from different creative and experiential angles. So thank you, everyone, for putting this together. Honored to be here.

Thank you so much, Karen.

Nina Sobell, our co-host. Would you like to speak a little bit about your work in the reel?

Maybe we get, but Nina's coming up later, but go ahead.

You're muted. There we go.

Hi. I'll just read. Hi, Roz. Hi. Hi. I'll just read what it says. Persistent vision is expressionistically submerged, emerged, and then the real world. The motion of emotion, motioning expressions of time immemorial, moving slowly at first with almost lowing sounds. The subtle colors flow like falling mist across the moody sky, then enter into a vortex of spatial unknowns. Fusing physical and digital, angelic figures emerge, beckoning us to experience their musings of beyond, to sense the music and the turbulent explosion of the world. The music of the world is a music of the world. The music of the world is a music of the world.

Nina Sobell

The music of the world is a music of the world. The music of the world is a music of the world. The music of the world is a music of the world. Yeah. Great. Yeah. I'm going to be talking more later, so I'll give somebody else time now to talk.

Colin, should we move on or is there more?

Thanks, Nina. Yeah, I think there might be just one more sustain who's in the chat. He said that he doesn't have audio. That's fine, by the way. So what's that? That's mine.

That was mine.

See me there. Bye. That's all.

Lee. Oh, Lee. Okay. Are you in? Would you like to say a few words? I didn't see you in there.

Oh. Yeah, I guess. Well, it would have been nice if it was up running. But yeah, now I guess it's somebody else's pieces up there. So that's

Okay. I could share my screen. I can pull your piece up if you want to just say a few words about it.

Sure. Yeah, I'd love to. Yeah. Okay. It's all yours. I try to focus. My stuff is usually a little bit frenetic. So I try to focus on one moment that I capture a lot when I'm doing the panorama sabotage work. These are all. These are all sort of analog manipulations of the panorama algorithm that unfortunately they considered this a bug and they fixed it in the iPhone 15.3.

Lee Schnaiberg

I begged them to not do it. So now I've been collecting all these old, old iPhones. So I got an iPhone 7 now. I got another iPhone 4 coming. I'm just collecting all the ones that I can from anything before the 1.5. And ironically, it doesn't work with the Android panorama. I have a friend who's developing a new kind of camera and I begged him and he's very excited about trying to have an algorithm for panoramas that laces the images in a similar way to what iPhone was doing. But since the iPhone 4, there's been a lot of work. So I'm going to try to get a lot of people who've been manipulating the algorithm in analog ways with jitters or sort of like a taffy pole with the phone while you're doing the while going into the panorama mode or sort of different ways to turn on its on.

One minute.

Okay. So it's just manipulating the image. And what I did was for this video. I just wanted to focus on one moment, which was sort of sunrise and golden hour. So I guess that's it. Thanks. So thanks for being in this, letting me be in the show.

Really appreciate it.

Anybody else in the video, Colin?

Okay. I think I have one.

Roz, I'm in the video, but I'm also in tech. So I could wait. Let someone speak today.

Yeah. Oh, it's who is this speaking? This is Cynthia. Oh, hi, Cynthia. Now go ahead and say a few things. We'll just, you know, yeah, that's two weeks away. That's very, very kind. But I think go ahead and say a few things. I think that's very considerate.

Colin, can you bring her up?

Maybe I can on my phone.

Colin Scott. Yes. You guys. Have a see the screen share. Yep.

Yes. Well, first of all, thank you, Colin at all for making this exhibit possible. I can only imagine having hung smaller exhibitions, how difficult and challenging it must've been to create this exhibition. So I thank you for all your hard work. The three pieces you see here are animated pieces that were done during the. Yeah. The pandemic. And, I am interested in the fleeting and illusory quality of time in the universe, whether the time is moving forward or it's moving round and round. And indeed, there's even talk of perhaps it can move backward. So I find all of this fascinating. And, so these three pieces are each a minute long and, they have been, done in, procreate percolator and in, I call Rama. Thank you. Thank you.

So Colin, Colin, could I make a brief statement? Sure. Lee.

So we're going to get to, your work in a moment. Lee, we're, we're just getting through the video art here. So, to see. So, so this is a screenshot of his video piece, which is an NFT. He's based, I believe in France or originally originally from France, maybe in Spain right now. But he is in the zoom. And I will share a link to his work in the chat. And I think, you know, we probably are going to go a little bit past seven, but given that we're in, you know, the sort of nature of this particular salon, I think that's, that's probably fine. Yep. And Lee, you will definitely get a chance to share once, Roz comes around to your piece, which is in this room.

Great. Now we're, we are rounding the corner here, the second room and it's, we're looking at low bits, pop fly on the left-hand side of the door. And, I believe this is a, a two artists, isn't it? Or is it one? Low.

Yes, it's a, I believe it's a husband and wife, team, low vid. And I don't know that, either of them are here right now. But I will read, the statement, low vid is known for employing analog video as the source of their visual output with snares, electric energy. In recent years, low vid is increasingly embedding images from nature and social interactions into their work presented here at two digital paintings. Melding terrain and technology through craft lush hyperspaces, which offer both confusion and comfort together with abstraction taken straight from the voltaic realm. And, low vid is Tali Hinkes and Kyle Lapidus.

All right. We're just looking at both of them.

So you can see that they're both on either side of the door.

Thanks, Colin. I'm moving along to, so many great works. 10, 10, 23 X. The title is words and below that. Another piece by the same artist. So vain, NFT photo print NFT photo print.

And, I believe 10, 10. Are you here? 10, 10.

Oh, I saw.

Okay.

Well, I'll just, read what he has here. 10, 10, 23 X, a graduate of Cal arts makes use of a variety of techniques to create work. Whether still are moving imagery. Working on computers and computer based systems is a consistent element to his work exploring and shifting definitions of text and imagery's meaning or mood through narrative construction or deconstruction service consistent as a consistent underlying theme. And both of these works are, minted as NFTs on rareable, accessible through his link. Yeah.

Colin Goldberg

All right.

And we come up to, another Long Island artist Dalton. We're telling baboon and lady. Hey there. Yeah. 1995.

I think it was done in 95. I'm not a hundred percent sure because, I actually, I don't have a, a digital file of this. I have it on transparency.

This is it.

And, I kind of gotten the show late and, just showed calling some of the stuff that I had framed years and years ago. He picked that one first. And, and, truth be told, I can't remember what I was thinking when I made it, but it was done on a Quantel paint box, Quantel graphic paint box, which was a, predecessor to, you know, the, it was the first computer I'd heard of that you could draw and paint with. And we was used to manipulate photography.

Dalton Portella

And I taught myself the paint box by creating art on it and, got hired by this company. And made an agreement to be able to output my, my work as transparencies at the time. Cause this computer output to nine track date. And I had stacks and stacks of them and then I started, making transparencies and prints. And, anyway, I just wanted to say, thanks for getting me in the show. Colin, this show was kick-ass. It was beautiful. Absolutely. Just a really strong, strong show by everybody. So thanks.

Thanks Dalton. And, before we move on to Vernetta, I realized that there's just a couple of people, that are in the, I saw, shared in the chat Reese Schroeder, who's in the real as well as, Stephanie Sydney, and Giovanna. I just want to make sure that anyone that's present, gets the opportunity to introduce themselves. So, Stephanie, I see you're on there. So do you want to start?

Colin for this opportunity.

Wonderful show. Really impressive. I'm really impressed.

My work, I work, basically I use my own photographs and then I collage them together and I like to, you know, put together things that are unexpected and, and that somehow find a relationship between very diverse elements. And, these collages all contain a lot of different things and a lot of different layers. And, and it's really, I'm really excited about this whole group and the show. I think it's just excellent. And, thank you again.

Thank you, Stephanie. Okay. Research Giovanna, would you like to, say a few words?

Oh yeah. Yeah, the first of all, I have to have a big science to a dival because he's the one brought me introduced me to calling and, and also of course, the, you know, I'm such honor to join these. Take Christian easy and the movement. I, I already, put my, linking the chart. So if, yeah, if a calling, you can share the screen. People can see my, image.

Giovanna Sun

Here. Yes. It's actually, I have a 4k video. So this is a video, not a still image. I think, I probably, I forgot to attach in a trial, but I like to say a little. A little bit about it. The, the title is, the women's power. So I use a rose. I really love a rose, Bob and also rock. So you can see all these, rock and the roles that represent like a, like a, a woman can be very beautiful and also very strong, like a rock. And the, the original, this image is also like a, my favorite vintage image, public domain from Metropolitan Museum of art. So if you look closely from your, if you have a web version, you, you, you can, just zoom, zoom out. So you can see is actually there. There's a, there's a woman. She's a queen. She's, she's on the top.

Giovanna Sun

And, there was a, like a king on the top. So somehow I just delete that king because I feel like. We need to have a more female leader. So let the women be on the top. Okay. Because I saw so many images. They always put the, the, the women on the bottom and the king on the top and somehow, so this is like, I have these, a metaphor, metaphor, metaphor, metaphor that, how, how about we live women's on the top? So that's why, and this is also a tribute to the International Women's Month last month, March.

Giovanna Sun

Yeah, so that's what I want to say.

And then I believe Reese Schroeder is the last person who is in the chat who has work in the real. So I just wanted to give Reese the opportunity to say a few words if he'd like. And I'll pull his work up as well. Still in the chat?

Yeah, I was trying to find them.

While you're looking, we're looking at Randy Mutochevitz, just to name what's on the screen. I'm sorry that we have to look at other images while you guys are talking. Kind of difficult with the video.

So this is recent. Was just in the chat, but he might have left. So, okay. So I'm

Calling. I actually have a piece in there.

Patrick, okay.

Yeah, yeah, yeah. I have a piece in there called The Martin for Nagin, which is a poem that I actually wrote for Nagin at the Sabian. And a few years ago. And so it's basically, there's several types of generative adversarial networks or machine learning systems. And what I did is that I basically took stanzas of the poem and put them into the system.

Patrick Lichty

And this is what it generated. And I didn't put any text over it. And the background music is, actually one of the first musical tracks I've published in probably about 10 years. So, and it's all my own work.

Okay.

Thank you, Patrick.

So now we're moving across in the second room to Vernada Weitz, her piece called Falling. Very dramatic photo montage. Is Vernada with us? Yes, I'm here.

She is. Can you hear me?

Yes. Yes. That's great.

I'm going to pull you up for one second.

There we go. Yes. Hello, everyone. It's my pleasure to be here this evening. And I certainly did enjoy being able to attend the exhibit live in Southampton. And Colin, congratulations on this spectacular job. It was just amazing. A massive, massive undertaking. And it's an honor to be here to represent my work. This piece is titled Falling. And it is a photo montage that is a self-portrait.

Verneda Lights

I worked as a family caregiver, caring for my parents and my father and my younger brother who had terminal illnesses, and they are all now deceased. But while I was working with them throughout the year, I was able to take pictures of their illnesses. I took a series of self-portraits, and I also did digital photographs of my family members so that I could document how we changed over time. It was an 11-year period that these changes took place. And as a caregiver, I noticed that there were many different ways in which you would experience anxiety and stress. And I wanted to do a piece that, you know, would show how this looks. So I took a picture of myself, and I'm wearing actually the gown, the nightgown that my mother passed away in. This piece was done in 2018, and my mom died in 2015 of breast cancer.

Verneda Lights

So I wanted to demonstrate anxiety, so I created a picture of myself. And I created multiple images in a spiral configuration on the canvas. And I did it in Photoshop and various other software programs as well. And then I superimposed upon it a photograph of the descent to Titan. It's a composite of 30 separate photographs that were made by the Cassini-Wiegand Space Probe, which was a joint venture by the European Space Agency and NASA. And they photographed Titan and landed the spacecraft upon Titan for the first time in 2015. And I felt like the way that they configured the different components of the composite mirrored what I was doing on the canvas. And I superimposed it to see what would happen. And the result was the image that you're looking at now. And I was surprised that there were highlights and areas of darkness that added to the graphic impact of the piece that I didn't expect to happen.

Verneda Lights

And I enjoyed seeing what the consequences of the photo montage would be. And the piece is put together, and it is also dye sublimated. And it's also dye sublimated. Printed on vegan leather and designed to be placed flat against the wall. So...

That's an interesting texture, Bernadette. I was looking at that, wondering what it was.

Yes, it's vegan leather. I didn't know if it was going to work out. I had it printed in London, England, and they FedExed it to me, whereupon I signed it and then shipped it on to Southampton Art Center.

It was very difficult to print on paper. Next we have Lee Musgrave.

Thank you so much, Bernadette. Really powerful work. Celestial Light in Line Four. Archival pigment digital print on paper. US 2021.

I have to say that this whole experience of this exhibit, even though I'm seeing it sort of secondhand on a computer screen, is very heartwarming to me. As I mentioned before, it was back in the mid-60s that I and other artists like myself were discussing that wouldn't it be great if we could put all of this together in an art gallery? And of course, we tried. But we didn't. We were always turned down. No gallery wanted to touch it. Then in 1972, several of us were invited to Walt Disney's Imagineering Division, where they had it all, just like you have. They had it all on display in this big building. It was wonderful. And I couldn't believe that we weren't able to convince any art gallery to take this and put it in there and open it to the public. The nearest came with art and technology at the County Art Museum.

Lee Musgrave

That was close. It wasn't just computer, though. It was all sorts of technology. But it was close. In 1993, I was able to put a small exhibit in one of the LA County regional galleries that the LA Times graciously agreed to write a review of, which was wonderful. But it still didn't approach this. This is the best presentation I've seen yet in a real art gallery of what is the potential for this approach to making artwork. And I really appreciate being in it. Thank you.

And, you know, really, actually, it's more, it was the former parish art museum, and so it really is a museum situation here.

Thanks.

Thank you so much, Lee.

Thank you. So, I

Just want to really just want to say I just want to say a little thing. I just want to say, I just think the way you're kind ofonting the question, I just think the way you're kind of on the other end I just think the way you're going to go of the show, I just think the way you're going to go in the back yor the back, I just think the way you're going to go. I just think the way you're going to go, I just think the way you're going to go, and it's really cool to have her included here as well. She says about these paintings, fusing physics, digital technology, and painting, I simulate atomic particle collisions to create hyper energetic compositions.

Colin Goldberg

Thousands of vibrantly huge particles explode and implode in a state of flux, conjuring falls, explosions, or volcanoes. An exploration of instability and uncertainty, this work alludes not only to the behavior of atomic particles, but to emotional states of tumult, tension, and unease. So here's another example of work that was most likely composed digitally, but executed by hand as an oil painting, which I think is really interesting.

Quick aside, I don't think I gave the title of Michael Rees's, but I didn't see his label. It says Synth Cell 009, Stream, Thing, Rooster. Love that title. Inflated. Polyprop. Polyvinyl. Tablet. Artist. Author. Act. 120 by 120 by 120, 2018. Just wanted to give him the title of this piece. Moving on.

Roz Dimon

Thank you very much. Diana Marcella, A Star is Born, Digital on Aluminum, 2022. Is Diana with us?

Let me see. It does not appear that she is. Sure.

Let me ask you a little bit more about your work. So I will...

Expressionism is described as a way to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. My work does just that. By distorting photographic images into free-flowing shapes, each viewer has the opportunity to see what they need to see. The image may guide the viewer to a particular image, a particular idea, but the interpretation is solely individual. And I'm going to paste a link to her page in the chat. And it was great to see her make the trip from Tennessee up to the opening reception.

That is Diane Marsella. Yes. Sorry. I'm not sure I gave that name correctly. Nina Sobell. Nina, I know you're here. Hi. Hi.

Hi. Hi, everybody. I'm really delighted to be here. And I just want to say that Roz introduced me to the group. And I was part of her code show in 1995 at Rego Maresca Gallery. And I'm going to be part of her handshake, her digital handshake, with Nina Yankovic, my friend Nina Yankovic. Really? Yeah. And when I was looking at Nina Yankovic's work, I noticed that her work about Emmy Noether brought to mind my interest in equilibrium and black holes and balance and ebb and flow. And I'm going to be interviewing her and she's going to be interviewing me. And as I said, on Roz's digital handshake. And these.

Nina Sobell

These were. Oh, and the one on the left, Alice Null. I started this in 2014. And I was thinking about the origins of our universe and looking up at the sky and taking pictures of the blackness. And speaking of Lee Schnaiberg was saying the early phones gave way to glitchism. And I pushed and I pulled and I went to the extreme. It was the exposure and difference and everything. And I was excited to see these images be revealed from the blackness of the night that I was taking photographs of. And I looked it up online or I read an article, but I discovered that Patrick Lichty was one of the originators from the Chicago School of Glitchism. And whatever. And then years later, now I find out that he's part of tech. He was one of the founders of expressionism. And anyway, making a long story short, I'll read.

Nina Sobell

I left Null, which is this one draws upon telepathic information perceived from the divine spontaneity, intuition and meditation with energy and light forming matter as infinitesimal elements. Anthropogenic dust particles, the sources that have shaped our universe. All if no expresses our oneness with nature.

Nina Sobell

And on the right is. Lips. It's glyphs. And because I did this because I have circled over the Nazca lines and explore deep sea diving and glyphs represents my fascination with geoglyphs, petroglyphs, seagulls and the acknowledgement that our planet was once covered in water. I dissolved many images reflecting upon the massive emergence of land from the sea. And this is one. It's one of and all of Null is one of 18 different imaginings upon the same. D.

Nina Sobell

And what else did I want to say? I think that's it. Thank you.

I know we're running a little over time. They're letting us stay open a little while longer.

We are going to have.

Try to get up a little bit, but it's all.

But they got us a little longer. This is where in Christine Schooley's room. And. I'm here. Hi, everyone. Light on. I mean. OK.

I think the Wi-Fi signal might be a little weak back there.

Oh, no. I have a photo in my background. So it's not going to image I guess it's

Trying really still

And just like focus on the dots the points and don't try to move the camera it'll catch up there you go I would just stay there so I've been fascinated with geometry like my whole life but I studied architectural engineering and one of the things that I'm exploring is a collaboration with computer generated moving lines and physical engagement. So the physical engagement here is a network of string that I build out which you can see in this picture behind me.

Christine Sciulli

Sort of an abstract expressionist way. I mean, usually there's, I resonate off of the architecture in the space. I generate these lines that are rotating in apple motion, sometimes generatively, sometimes I like hand animate them for position. And then I go back and forth between the projections, once the projectors are set, and the network of string, and sequence them so that the intersection of the planes of light with the string result in points that seem to move around. People tend to put all kinds of scale notions onto these points. And yeah, that's the short end of the book.

Beautiful.

Thank you so much, Christine.

I hope it's pretty dark.

We're trying to find a way to watch a ship. Don't fall.

Okay, so we're going into the third and final room of the show. And I think we'll just start right here with Darcy Garbage.

He works in the metaverse, literally in the metaverse. Darcy, are you with us? I am. Hi. Hi. Hi. Hi.

So this painting is from my Inside and Outside series. And I came to that because I start by painting a 3D light sculpture with tilt brush in a virtual world. And this painting incorporates the brushstrokes that you see, the big brushstrokes and the solid colors, basically, are pieces. In the real world. And I call it an inside.

Darcy Gerbarg

I'm so happy to be in a world of an inside. I just like the actually the day. I like the way I can do in a real world. I like the way I can do the things. I like the way I can do the things. I like the way I can do the things. I like the way I can do the things. Inside outside picture and take it into Photoshop and basically work on it, recolor it, rescale it and all of that. And until I come up with a painting. So my background is abstract expressionism and color field painting. And I was part of the group of color field painters in the early seventies making big paintings of this size. So I kind of see myself as a painter and I just love these big brushstrokes that I can make in three dimensions all around myself. In addition then, now as the technology moves forward, I'm able to take this AR object and next to this painting, there is a QR code.

Darcy Gerbarg

And if you take your phone and you click on that QR code, you will get an AR object that will come out of that painting, which is the 3D model that is incorporated in the painting. So, it's just interesting to use the technology as the capabilities evolve. But it's still from my perspective, a Techspressionist painting. So I take gun from 3D to 2D but the 2D always incorporates the visual effect of the original 3D object, which gives it a kind of space space on a two dimensional picture plane.

All right. I know that the theme is almost complete. I just want to say a little some about the nucs. I just want to say a little about the up to time. I just want to say a little about the it is a really good time. I just think I

Can't think of a way to not be oner an all the time.

I can't think of a way to do the right thing. I can't think of a way to do the right thing. I can't think of a way to do the right thing. I can't think of a way to do the right thing. I can't think of a way to do the right thing.

I can't think of a way to do the right thing. I can't think of a way to do the right thing. Know yes

And

I'm sure maybe everyone

Yeah tell us a little bit everyone and thank you so much for including me and that's an honor to be in showing you with all these amazing artists so these two pieces it's iran and america it's a part of this installation we are doing with my dear husband patrick lickley so we lived in abu dhabi and because of a lot of political reasons we couldn't visit each other's country but we had this idea that we know a lot about each other's country through media so it starts with technology that actually gives a new notion of experience to people so you change a technology around people and the people change so we try to visit each other's country with google earth so that was the first time actually I was using this vr glasses and it was so exciting for me so we went all around these cities that he really he was living and working and his childhood house is there the one and all these experiences I had with this vr alongside with all the information I think I have from america through media cinema literature philosophy whatever you read about a country and the culture because we somehow raised on these movies and cartoons and cinema and like satellite programs so we think we know a lot about the culture but sometimes that is also, the other way, he tried to visit Iran through Google Earth, but because of the limitations, there were no 3D photography there.

Negin Ehtesabian

So it was all flat. So this is a part of that installation that we did different artworks for that. That's it. Thank you.

Thank you. It is Google Earth, colon Iran, and they are digital print on fabric.

Yeah. And again, thank you so much, Colin, for all this. Work for having such a show. And thank you, Roz, for presenting us.

Get some good sleep.

Thanks.

All right. Roy Nicholson, who is actually,

Married to Helen Harrison.

And I remember meeting him long ago and knew he was working with computer stuff. It's doing great work. Colleen, is Roy with us?

I don't believe he is. I'll just read what he wrote really quickly. My images are arranged to show a 24-hour cycle. Growing out of an ongoing series called the Toxic Garden, the four monoprints were created by painting on an impression of linear forms that evolved from the lines on my hand, integrated with morning glory vines. The single matrix gave rise to all four variations as if they were all done from the same observation point.

Colin Goldberg

Evoking different temporal experiences, the works reflect the complexity of the natural world and how we are all tied up with it. Solar plate printing pioneered by Dan Welden at Hampton Editions is an environmentally friendly technology that uses UV light instead of acid to etch the matrix. Each monoprint is a unique inking, which I then enhance with painting and or drawing. I rely on the digital world of computers, scanners, and Photoshop to develop my variations. The resulting image is a fusion of external and internal stimuli, an expression of my response to the natural world, both observed and experienced.

Colin Goldberg

And I want to say two things quickly. Dan Welden, who invented solar plate, the technique that this work was created, is also in the exhibition. And Roy is someone that I've known for over 30 years. He introduced me to Steve Miller when I was an undergraduate student that was through an internship where Roy was the co-op chair at Long Island University.

Colin Goldberg

And he connected me to Steve as a studio assistantship through LIU. And Steve connected me to half the people in the show and really like kind of inspired me to, you know, both to develop this exhibition and to continue with my own work. So Roy is a big part of the story behind Expressionism.

And then there's Chaldra. Chaldra, my love, I know I've seen you there. Hi. Talk a bit about these works, Chimes, Grumpy, and Ricochet, Mounted Pigment, Mounted Pigment Print.

Hi, I'm Chaldra. I'm from Austin, Texas. Hi. I'm Chaldra. I'm from Austin, Texas. I've had an interest in digital art since the 70s, like a lot of people here. And I've been working exclusively in the digital medium for over 20 years. So I'm really excited to be here. The principle of motion I'm trying to convey with all of my work is optimism.

Chalda Maloff

And I put a lot of thought into what will put the viewer into an optimistic frame of mind. I work in Photoshop and Corel Painting. I do free hand digital drawing with a lot of different effects that these programs provide. And I have my own printer in-house, a huge 46 inch printer. It was a joy getting it down to my studio, but I'm very happy to have it. This piece is called Drumbeat, the piece that you're on.

Chalda Maloff

The whole three pieces are from a new book, a new series called Half Lights. And the theme is transitions. And drumbeat is like a ritual that would come with maybe the passing of seasons, joyful. And I convey it with a repetition of shapes and then a very shimmering surface. You can see a lot of the artworks have splatter.

Chalda Maloff

Which is a technique that I've enjoyed using in many media, aquatint, oils, acrylics. And it kind of looks like I took a loaded paintbrush and shook it against the canvas. But of course it's a digital. So I have complete control over where all the dot forms go. And I think it gives the artwork a very immediate feeling like a passing moment in time.

Chalda Maloff

Uplifting the viewer, feeling like there's a moment. It's going to be different just the next moment. So to appreciate this particular moment. A lot of people ask me why I use this splatter. And I ask them to imagine the piece without it. And they seem to immediately understand. My aesthetics, I use a lot of transparencies, which I believe kind of draw the viewer in. And I try and work for spatial ambiguity where at one part of the painting, you can't exactly tell where you are relative to the other part.

Chalda Maloff

And the third technique I try and use a lot is backlighting or inner glow. I try to replicate the feeling of being on a screen, even though it's a print. So I exaggerate the highlights and halos. And give it this feeling of inner glow, which I feel is gratifying for the viewer. And I'm in love with the medium. I had a talk with myself several years ago and realized I was never going to go back to my oil paints. I gave them away. And so I'm totally committed to this medium.

Thank you.

Thank you, Sholda.

John Seaman. Three variations on a poem video art file. And I know I met John during the installation. He's turned around the back of these analog banks and they're just kind of beautiful in their own right. Is John here to talk about them?

I don't believe he is.

And also there's a sound bubble above that is activated when you're underneath it. And only when you're underneath it. And it's a really kind of cool way to add audio to a visual experience.

Very non-June site. Yeah.

Yeah, actually I'll quickly read John's description. So this piece in particular is called three variations on a poem. It was created in 1979. I'll sort of paraphrase some of this, but it said the same program is processed three ways. Reading into a mic, the signal controlled the sounds. A Moog music synthesizer was creating. Number two, music concrete. The audio tape of the poem was sped up, slowed, highly edited with a razor blade and tape splices. And number three, a sound score was created with voice and synthesized music. The poem can be heard. And John actually did work with Nam June Paik, also with Dara Birnbaum and other notable video artists. And he's gonna be doing a presentation, I believe on May 13th at Southampton Art Center, talking about video art and its history.

Thanks Colin. Moving on. This is a very large piece by Steve Miller. The name comes later. Pigment dispersion silk screen on canvas. United States 2017. I guess for scale you could see me against the painting and see how big this work is.

Steve, are you still in the Zoom?

Did you wanna say anything about this work? Yeah. Thanks Roz. The size with this piece has to do with the epic proportions. Of the problem at hand, which is you're looking at a satellite map, the pink of Amazon land clearing. The center of the painting is Elkhorn fern from the Amazon and the black overlay geometry is also satellite mapping, obviously seen from space. So you have this sort of galactic motion of events happening simultaneously and using the technology from space. And then you have satellites to really look at the enormous problem of land clearing. This map was actually from about 20 years ago by the time I got it onto the painting. So I'd looked at previous maps afterwards and it's almost triple the amount of pink.

Steve Miller

If you look at this today, it would be three times the amount of pink that's on the painting. So it's just another part of this project called Health of the Planet, which was a project to X-ray, the Amazon, the flora, the fauna. And the idea was to give the world a metaphorical X-ray medical checkup. So X-ray the lungs of the planet. Thank you. Thank you.

Thank you. Clive Holden, in 1000 years, the world will still be beautiful. Video, Canada, 2022. Is Clive with us?

He was, but I think he had to leave early. Yeah. I think Clive had to leave. He just basically about this work says, this seamless video loop is the result of several live processes. It's VU meter-like loops arranged in a grid were made with improvised music and action painting in mind. The making process was a partnership between myself and a network of algorithmic chance procedures, acting like members of a band, choosing notes on the fly from within the song's framework, completing the work live. And this work is called, The! This work is also minted as an NFT, which is accessible through Clive's artist page in the chat.

Nice. We're moving on to the back wall here, but very visible from the front. Mary Buchever, treatments one through, I believe, 11. Paper Inc. US 2003. Mary, are you with us?

I don't believe Mary's in the Zoom, but she says about this series that it's a series of prints inspired by the book Light, Darkness, and Color in Painting Therapy by Leanne Gallaud de Hurbois. The book gives very detailed written descriptions of ways of handling specific colors to affect a transformation in the patient. I like to play with the word treatment, which also has an art context. It seems to me that using the computer to create these images is closer to the intent of the book, as it deals with veils or layers of paint. It's a very interesting way of putting together the layers of darkness in front of the light. And I've known Mary for quite some time. She's a local artist too on the area. She's on the east end of Long Island in Sag Harbor. Steve Miller actually is gonna be leading a salon, two salons from now called Techspressionists of the East End, which hopefully Mary will be able to participate in.

Great. All right. Thank you. Francene Levinson, Hanging by a Thread. High definition digital painting on aluminum. United States. 2022.

I do not think she's here with us. Don't think is here. Yeah. I'll paste it a link to her page in the chat. And she says about this work, my passions direct my artistic concepts. The political social upheaval we are experiencing in the USA is perfect fodder for my expressionist emotional appetite. My laptop painting programs and printers are my studio palette and canvas. I create original high definition abstract socio-political digital art with the circle as my dominant form. I believe the circle of life reflects all of life's encounters, pressures, and feelings. When I paint with pixels, the immediacy of the digital medium gives me the opportunity to paint my expression in the moment. And Francine is another artist who's been with us since the beginning and very active in the salons.

Great. We now have a very huge wall that you can see from the beginning when you come in this room by Frank Gillette. And it's post apocalypse. And some of them are numbered different numbers and also preludes. All are ink on our cut. Painter made with quite dramatic presentation of work. I'll save it by. See that.

Roz Dimon

.!

Very interesting background. There's an interview that Helen Harrison did with him on the Techspressionism home page where he talks about that work. This work is newer work. I had the opportunity to work with him, do some Photoshop training with him back in the late 90s. And this work is part of a series called Post Apocalypse. And Frank writes about it. We the human race are living through stupefying times. Ecological collapse is no longer a fantasy, a fiction, or a reality. It is real concrete and universal. How are visual artists expected to develop a counterstatement both in their work and their attitude toward onrushing technologies which are by a wide margin resisting ecological solutions?

Colin Goldberg

How can visual art make a difference making the difference?

Right. I think here's Michael Rees. And it's another wonderful one of his blowups. I think I'm going to go across the room. I do not know. I think I'm going to cross the room and maybe end up just in case we run out of video. Okay. Peter Borch, constant state of confusion, acrylic on canvas. Is Peter with us?

It doesn't look like it.

I don't believe Peter is. He is based in the United States. He's a scientist out of Brooklyn. And again, he was one of the artists that was sort of involved at the very beginning. He says about this piece, my work focuses on questioning what constitutes artistic labor by instructing and negotiating the will of machines. I work to examine the traditional relationship viewers have had with analog artwork across mediums and how that compares to our perception of digital images. Through this, a dialogue forms between us. From pure control to symbiotic relationship where I accept the will limitations and preferences of the machines as a critical aspect of the creative process.

Colin Goldberg

And this work actually was created. Peter described his process to me. He took a commercial vinyl cutter and actually hacked it to turn it into a painting machine or a pen plotter. I'm not sure exactly what sort of instrument he used to do the mark making with. But pretty interesting inventive process.

Yeah, it's amazingly dense. And next we have Michael Pierre Price from the Light and Flow of No Mind Archival Pigment Print. I know Michael is with us. And I guess James can back up to get

A view on this dynamic piece.

Yeah, thanks. Well, I'll give a shout out for Roz and me doing the first digital hand-shake. We did a digital hand-shake yesterday.

Yes, we did.

So if you haven't had a chance to see it, we talked about some cool stuff. Not only this work, but also Roz's. And I'm looking forward to hopefully watching a number of other digital hand-shakes over the next few weeks. So I think that just speaks to, once again, Colin and everybody else here. Man, this is just crazy awesome, this show.

Michael Pierre Price

The Southampton Arts Centre. I can't imagine a better venue. It's beautiful. And to see the work, I'll just echo what everybody else has said. This is monumental. A long time coming. And I echo what Lee was saying earlier. It's been a long time coming. And I think it's... I think this is going to put... Technology-based artwork on the map in a way that it needs to be as a really powerful art movement. So my work, with my physics background, my astrophysics background, I feel like I'm kind of a voice for the universe in a non-human way. For us to see our humanity from the other side of the mirror, if you will. And that's kind of where my spirituality lies as well.

Michael Pierre Price

I just feel that there's a profound beauty and sacredness just from the mere fact of the universe existing and that we're here. And that we don't need more than that. We get trapped by the things that hold us back from one another. And so for me, I feel that mathematics is the underpinning. And I think that's what I'm trying to do. And that's why I started writing about the universe and how we're connected and why we're connected in this universe. Because this piece was generated initially using fractals and chaos theory. I wanted to show a bit of mathematics in a very stark way but a beautiful way. And it ties in very much with the previous show that I did last year, my solo show. I won't get into that. If you watch our digital handshake, you can kind of learn a little bit about that. But anyway, I'm just thrilled and very humbled to be part of such an enormous, beautifully presented and executed show.

Michael Pierre Price

So thanks, everybody. Thank you, Colin.

Thank you, Michael. Thank you, Michael.

All right. Skojo, Violin Femme 1, Mixed Media, United States 2022. Skojo, are you with us?

Hello, everybody. There he is.

Can you hear me?

Yeah.

Awesome. First of all, thank you, Colin, Patrick, Roz. I mean, what a great show. It was super, super awesome to hear. And I'm so happy to be here to celebrate with you all. So these pieces are the first two one of one physicals from my Genesis NFT collection. And it's really about support structures. So about a year ago, I fell and had a really major, major concussion. It was so severe that I actually couldn't walk for seven months. I couldn't really do anything but sit in a room, wait for it to heal, be very, very, very sick, and occasionally go out for these. You know, grueling therapies.

ScoJo

But I was lucky. I was lucky because I had all types of people helping me during this process. I had my physical therapist. I had my ocular therapist. I had my wife being a rock for my family. My daughters cooking me meals. My parents being a support system as well as my friends. And it really felt like a symphony needed to be orchestrated to get me through these times. So this really is about having those structures in place to navigate the twists and turns of life.

ScoJo

My technique is always a mix. I always start traditionally. So I paint on very large rolls of transparency. And then I cut them up and collage them, bring them into the computer, manipulate them digitally. Then I print them out, glue them to cradled wood canvases. And then I start the process all over again. I do more collage, more spray paint, paint pens, and then mix it all up with resin. So it's really this analog, digital analog sandwich, if you will.

ScoJo

Such an awesome show. And, yeah, thank you for everything.

Thanks, Skodjo.

Thank you, Skodjo.

Carol Hunt, Blazing Certitude inkjet print with watercolor gouache and graphite.

Low battery.

Uh-oh, we're getting a low battery.