Salon 44 // East End Tech

So good afternoon in my time zone in Sagaponack, New York on the East End of Long Island where I believe every artist who's invited in this Zoom is also living as well. So this is an East End presentation of the artists that are participating in the Colin Goldberg curated Techspressionism show at the Southampton Art Center. And the premise of the show is, has been widely distributed around social media and in the press, and it's artists looking at technology as a tool of personal expression. And today we're going to give people the opportunity to talk about their particular piece of the show. And there's a brief time limit. So those of you just coming in and out, you can see that we have a few minutes left. And now each artist is going to speak about their particular piece of the show for about five minutes.

Steve Miller

And I'm looking forward to starting this off with Suzanne Anker.

Take it away, Suzanne.

Thanks so much everyone for joining us. Colin will be showing my work since my computer is set in a different way. But my work in the show are three dimensional. So I'm going to start with the first one. The second one is called Raushak Tests. And Raushak tests were originally conceived of as ambiguous forms that were for schizophrenic patients. And eventually they became projective tests for other psychological reasons. But what's really interesting about the word Raushak, who is the founder of this text, text is he originally started out to be an artist and he got this idea about the ambiguity of images from a children's game called blotto and when I started to investigate Rorschach tests I was very curious about the way that coastlines or complex mathematical systems could essentially be enumerated through computer technology this is not something I could have made in any other way and what happens with these three-dimensional objects they become images of the imagination that you can hold in your hand.

Suzanne Anker

Some are large scale, some are small scale, some are plaster, some are bronze. And what happens when they turn into three dimensions is new metaphors are evoked. So that what was once an inkblot now looks like a body part, or a crab or a bear or some other kind of bone structure. This is true for all ambiguous kinds of images, which I think technology is well suited now to explore.

Suzanne Anker

And this is a series that I started in, I guess, 2002, when I first started to use this kind of digital medium. I was looking for an image in which I could use this technology. Because as chair of the Fine Arts Department at the School of Visual Arts, I have the ability to use many new technologies.

Suzanne Anker

The question for me is what to make. And I think that is true for most of the artists in the exhibition. It's not only the technology itself, but what is new about the images that are perceived and projected. So I'm still working with 3D rapid prototype sculpture, working on a larger scale series taken from photographs of my garden that I have been working on for the last two years. And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years. And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years. And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years. And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years.

Suzanne Anker

And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years.

And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years. And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years. And I'm still working on a larger scale series of photographs of my garden that I have been working on for the last two years. So anyone that wants to put any artist that wants to put their information, their website, ways to contact them. You know, I encourage everyone to do that if that fits their studio practice. If you want anyone to contact you or come to your studio, you can put your contact information in the chat section below for anyone else to access. And so thank you.

I wanted to add to really quick on the topic Steve brought up on the Techspressionism website. There is an artist list and each artist, if you click their name, you can access images of their work as well as links. So this is Suzanne's page, which has links to her Wikipedia article and to her website. So each of the artists in the show has their links. And you can find links to their work and links to their work on the Techspressionism website.

So if you want to connect with the audience and make sure that those that want to be available can do so in a multiple set of ways. And Techspressionism website, as Colin just mentioned, is a good way to do that. So next is Roz Dimon. Go ahead, Roz.

Thank you. Thank you. Thank you for having me today. Thanks to Colin and all of my colleagues. It's an honor to be showing with you. I'm sure. Give me just a minute here. Hold on a second. Always a few little technical things. Can people see my screen?

Yep.

Okay, good. Well, I speak to you today, my friends, with a bit of a heavy heart about my drawing, Kalashnikov II. Too. Some pieces are about resurrection of spirit. Others are about looking into the very heart of darkness, like Joseph Conrad's voyage into the Congo, where evil draws you in like a field of poppies. You know, it isn't... I just woke up and said, oh, I think I'll draw a Kalashnikov today to support the Ukrainian war. No, no, no. That would be a poster, but that's not what I'm doing. Art looks at all sides.

Roz Dimon

I can't help but think of Magritte's Sene Pazun Peep, as in Sene Pazun Gun. But the truth is, this is a gun. Yes, Sene Un Gun. It's an object that I see all the time in real life. In every truck stop in America, in blockbuster movies, on the hip of practically every policeman in every county. It's an object that I see in the military. It's an object that I see in the military. It's an object that I see in the military. It's no longer just an object that you see in the war and the military. Witness today's horrible, tragic shooting in Texas.

Roz Dimon

I don't own a gun. So I actually want to, I actually went to do some target practice while I was doing this series at a local gun range in Louisiana with my brother-in-law, just so I could see what it feels like to actually shoot a gun. It was powerful. The place was very well controlled, very safe. Guns were treated seriously. The sheriff actually told my husband to be very careful, as he said, you have married Annie Oakley for someone who had never shot a gun, or at least not since rivalry in camp. And, you know, I suspect that's because I really could draw since I was born and got that from both my grandmothers.

Roz Dimon

With a motion, a New York cartoonist once described, what does emanating from my shoulder, my core, my heart directly to my fingers? The Kalashnikov and the guns are part of the larger series I've been working on for years called Artifacts II, where I draw things like the common safety pin. Will it prick or will it mend? Even the everyday razor blade that we buy at the drugstore in every county in America has this sharp little blade lovingly encapsulated in such a way that we don't even realize we're holding it. That we use it to clip little hairs off our body with barely a neck.

Roz Dimon

Of course, this has led to guns and more guns and more guns. However, when we get to an assault weapon where we do not legislate or control our inventions, some kind of new horse has been let out of the barn. The modern day assault weapon, the M16, AR-15, AK-47 are all based on this automatic rifle built by Mikhail Kalashnikov. How ironic that it's now being used by the Ukrainians as we see it being drawn here one line at a time. It's all about the squiggles for me in the middle, the contrasting opinions as, hey, didn't the Kalashnikov save us from Nazi Germany? Some people think so. Aren't we supporting Ukraine with assault weapons, with all we have? It's the beauty and evil of the thing, the intricacy of the machinery all mixed up together in this combustible chamber where one womb-like component says, hold it in, don't shoot.

Roz Dimon

But where another, once that trigger goes beyond a certain point, propels a sharply honed bullet or even a round of bullets of a combo of X and Y, and of course Z in this very chamber of the computer where it is drawn in layers, a burst of energy, that surely, at least in all my works in this series, is wrapped up in all sorts of emotions, anger, violence, shame, hatred, insecurity, and always some kind of ultimate sorrow.

One minute.

You know, I've always been drawn to men who knew how to contain their power and still do. It has something to do with where we are. As human beings going forward as a civilization. Just because we can build a bomb, do we use it? We do have nuclear disarmament. And I see that as a strong feminine side of the world, the part of men and women that just might save us yet. Just because we can build Kalashnikovs, can we figure out ways to limit them and legislate them so we're not killing our children? As I'm talking, I'm showing you abstracts within the belly of this Kalashnikov. There's a lot going on here in the center of this artwork created at 300 dpi, designed to go nine feet wide.

Roz Dimon

Can art create change? Maybe, maybe not. But it can make us look, ponder, maybe see things differently. We are the keepers of the garden. We can nurture, protect, and or destroy. Where are we going here?

That's time.

The NFT is separate from the physical. The NFT is a physical work, specifically animated as a one-on-one unique animated NFT, that I feel strongly will have historicity in the future where we look back on this age of technology and art. Thank you.

Thank you, Roz. And thanks for showing us your process. Love seeing that. Next, we have a colleague, an old friend, and a fellow traveler on this technology journey, Frank Gillette.

Yes, good everyone. Pull up the images. And I'm not a member of the DigiDigirati, not yet anyway. And my images were made, there's one, there are nine in the show. Each of them basically surviving by the same principles. Those principles are how do you push, how do you develop a wobbling, good boys, between chaos and order? How do you substitute significance for beauty? Because I'm not interested in beauty in the classical sense, only as a byproduct of distress.

Frank Gillette

There's nothing to celebrate except issues revolving around complexity. I think the principle of collage, which is called the Collage of Collage, which is called Collage of Collage, is an absolutely played the whole work. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas. And I think that it's an absolutely bad set of ideas.

Frank Gillette

And I think that it's an absolutely bad set of ideas. And I think that it's in ambiguity. Again, going back to the issue of engaging complexity on a level where the transition between complexity itself and a solution which just barely misses going into chaos. So it's like moving towards chaos and stopping short just before the cliff appears. This is my essential interest. And the other thing to say about it, it has nothing to do with my video work. My still work, looking at now, has nothing to do with my video work. So I'm in a schizophrenic structural system.

Frank Gillette

Both of them are dealing, addressing again, the idea of a copy of the world. Apocalypse. The titles of all of them are Apocalypse Numbers. And that I would say is the allure, it's the allure of the chaotic. It's the allure of addressing confusion as a compositional process. It's the allure of chaos again and the redistribution of meaning. That is to say, you don't have to be a you don't have to take a fragment from one context, process it and add it to another context, which originally have nothing to do with each other.

Frank Gillette

That dissipates the sense of origin. So the origins are buried in the layers of the composition. There's nothing much else I can say. I would let the pieces speak for themselves. Again, there were nine in the show. And that's it. I'll wait for questions. Thank you.

Thank you, Frank. For those that don't know Frank's earlier work, it was he was a pioneer, is a pioneer of early video. We're talking about Nam June Paik, Port-A-Pac, the early days of video before you could shoot a video on your iPhone. And I just want to say

That. My first video, if I may intrude, my first video was made in 1967. Obviously, it was analog. It was not digital. But I get cranky when I think about 1967. They're now all being redone digitally by the ZKM in Germany. They asked to do it. They basically offered to do it. And then I sent them about 300 reel to reel.

Frank Gillette

Copies of early video from 67 to I don't know, the late 90s, I guess. I'm making a video at the moment. As I pointed out earlier, it has nothing to do with the imagery I'm looking at. You're looking at now.

Thank you, Frank, for that context, for that larger context of

This

Historical moment. So beautiful work. Next, assisting in Carol Hudsburg's work. I'm going to take over the presentation. Colin's going to take over here. So thank you, Colin.

Okay. So let me share my screen. And I'm going to pull up Carol's work here.

I could read her statement. If you want to just run the images.

Well, there's only two images. So it's not a big deal.

Okay.

Go ahead. And I actually just wanted to preface this by saying I've known Carol for a little bit. She and I were on a panel together at the Pollock House a few years back about expressionism in the 21st century. So when this show came about, I thought she's a natural fit for the exhibition. And we have a lot of sort of shared interests in terms of the exhibition. And I think she's a great example of that. And I think she's a great example of the combination of digital and physical media. So I'm going to read what she wrote here.

Colin Goldberg

She says, these works were inspired by Thomas Wolfe's poem, The Blazing Certitude. For our 30th anniversary, I broke the poem up into 30 lines and painted an abstract illustration for each page, 11 by 8 1⁄2 inches. This inspired an entire series of large oil paintings, pastels, and computer prints. Most of my computer work consisted of 3D animation. So I took a very different approach to these prints to make them more painterly and consistent with my physical paintings. I scanned all of the book pages into my computer and was able to utilize these pages to create new works. First, I randomly pre-painted large sheets of paper with watercolor, ink, and gouache. On my computer, I created different background textures like pinstripes and wood grain. I then created a new work with a lot of different colors.

Colin Goldberg

I combined some of these with paint strokes and collage elements from Photoshop or Painter on the computer. I then superimposed combinations of my book images over the background and printed the composite image over the pre-painted paper. I especially like seeing how the printer ink reacts to the paint in unexpected ways.

Colin Goldberg

So Carol has two pieces in the exhibition, which are these ones here. And they're each, I believe, 36 by 8 inches. And these are the ones that are printed by 21 inches. So you can find out more about Carol by going to her page on the exhibition artist list. And then there's a link here to her Instagram profile as well. So that shows some recent work. And this, I believe, was a still frame from a video piece from 1998. So she definitely is, you know, working hard. And then she's done some work on this one in an intermediate fashion.

Great. Thank you, Colin. And thank you, Carol. And another original gangster from the East End is Roy Nicholson. So Roy, take it away.

Sorry, I just had to unmute. Can you hear me okay?

Yeah, we can hear you. Thanks. You're all set. Okay.

I have a little short PowerPoint, which is closer. I'm going to get a little closer. Sorry. I began working with digital imagery before Photoshop. And at a point where I was developing a new course in color theory, which at Southampton College, which wound up being quite popular, and which was a start for me for making some images with the use of the computer. So what you're looking at is two pieces in 1986.

Roy Nicholson

Roy,

We're not seeing your screen yet. I'm not sure if you initiated the screen share.

The screen share. Close it. You have to share the screen. End show. End show. Go to the screen share. Now click on that.

Click on it. And then you can see the screen share. Have you got me now?

Yeah. You just want to hit start the presentation, I guess, from the beginning.

Sorry about that.

That's okay. Okay. I can see it perfectly.

So here we go. So these two images were made at LTV on a computer that cost at the time something like $60,000. It could do practically nothing. But it did have this program called Paintbox, which I played with quite a bit. And it gave me some inkling into the possibilities of what you could do with a computer.

Roy Nicholson

In a sort of reversal of the normal, instead of making a digital image first, I've made a painting, two paintings, that show my interest in time, time passing, the morning light, the evening light. And it was used for... Yeah. Yeah. It's so nice. It's so nice. So I think of it as a sort of a specific kind of love of time. So I think of it as a sort of a love of time.

Roy Nicholson

And I think of it as a great way to let this kind of move on. So I think of it as a kind of a place to just say, in the course of this world, you can't have this here. And I think of it as a kind of a place to just say, in the course of this world, you can't have this here. And I think of it as a kind of a place to just say, in the course of this world, you can't have this here. Up being two large mosaics. The irony about mosaic is it's such an ancient material, but it's made up of little teeny pixels. So it's so similar.

Roy Nicholson

My interest in mosaic goes way back to when I was a student. And I find that it's kind of fascinating that it stayed with me. Oh, and by the way, the program at LTV was called, sorry, the program at Southampton College was called mosaic. It was before the internet. So I was lucky enough to get second commission. This one's in LA. It's at Union Station, which is like a big Grand Central. And I knew that I wanted to go to the east and to the west because that's where these walls lined up. So I did. I didn't know what the mountains looked like in San Bernardino. So I searched around. I found a webcam at the university in San Bernardino that I could get control of. And I moved it around to watch the sun as it came up in the morning around their time, six o'clock, and my time, a comfortable nine o'clock.

Roy Nicholson

So I took screenshots of this, many, many shots, and they wound up in the mosaic. So it's this kind of intersection of some ancient techniques, new techniques, things that couldn't be done before, like taking control of a camera in California. This is the Pacific Ocean side. I'm showing the solstices and the equinox.

Roy Nicholson

And I didn't know where, what was on the side on the right. Luckily, I found that I had got this project on the evening of the solstice. And I went down to Malibu, took a photograph of the sun going down and used that photograph in the piece. So there's the total piece, two sides, east and west. And in the top is a sky well that has the sun, south and north of the sky, which photographs I took of the sky, which are two different blues, and then morning and evening.

Oh, one minute remaining?

So here's, oh, only one minute. Well, let's whiz through. This is my latest piece, which is Hixlow Station also. And there are 72 panels, eight feet long, for four new waiting rooms. And I did want to get into showing you the current piece, which this is plate for at Dan Welden's studio. And it's called a solar plate. So it's a solar plate etching. That gives me a matrix. It's the same for all four of these images, but they're completely different because I've worked with paint and pastel, and I've worked with a lot of different things. And so on.

Roy Nicholson

And they show the night, the evening, the morning, and the daytime in the cycle. So I call it 24 hours. The advantage of having the same matrix is that it's as if you're in the same spot every time. And you're looking through a tangle of weeds, my lifeline and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory.

Roy Nicholson

And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline,

And morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. And you're looking through a tangle of weeds, my lifeline, and morning glory. Frank put a timeline on with 1967 and video in 1993. I asked Roy to help me find someone to work with in the studio. And that's how I met Colin Goldberg. And I thank you for connecting us, Roy. And so many years later, this is the result of that introduction. I appreciate that.

It's amazing. Thank you.

And so another person, I also have a warm Brazilian connection, which is Dalton Portella. All right.

Here we go. Hi, everybody. And Roy, those were beautiful pieces. And my digital history is, well, when I was studying art at Parsons, I was on financial aid. I needed to work. I got a job doing photo retouching on transparency film. And that eventually went digital. When I saw, I heard about this Quantel paint box that had been invented to, to paint with and to manipulate photography.

Dalton Portella

Roy just talked about the paint box that was, that was developed for video that he saw at LLTV studios. The Quantel developed one for, to work at high resolution for print and they called it the graphic paint box. And so in 1988, I got a job with a company that had bought one of these, they were $750,000 at the time. And I taught myself how to use it by painting on it. And, like, like we saw in Roz's demonstration, I was interested in maintaining my line that I had the, the marks that I would create painting. I was interested in keeping those when, when I used the computer and, I'll, this, this is one of my, one of the, one of the precursors to, precursors to the piece that I have in the show.

Dalton Portella

And the way I was looking at digital was, you know, painting is mostly about creating the illusion of three dimensions and texture on a two dimensional surface. And so I embraced that and I wanted to keep it organic. I wanted to have my line, my, my emotion infused in there. And this is the piece that was in the, that is in the show, right now. And to tell you the truth, it was done in the early nineties and I can't remember what inspired it, aside, besides just wanting to create and evoke emotion.

Dalton Portella

There was, this is, when Colin asked me what I wanted to put in the show, I didn't have a scan of the, the image I photographed, the actual piece I had framed in the early nineties. And he picked this out of a few others. And so I went in and, the only person I know with a drum scanner right now is charging so much that I just decided to photograph this on my light box, which is behind me.

Dalton Portella

And then retouch it and actually match it to the piece that I had put in the show. But I want to, I want my digital work to carry the, the emotion of my physical painting too. And that's basically what inspired this. And there was a lot of darkness going on at the time. So, most of this work is pretty dark.

Dalton Portella

But that was the evolution of that. And then later on, I lightened up a little bit, brought in a butterfly to my self portrait. But that's pretty much it. I, the year I create, the year I started on the paint box was the year that Photoshop was invented. And it took a few years after that for them to start marketing it and for it to become, accessible. And by the time they finally got up to speed, I ended up by buying one for myself and went into business on my own. One minute. All right. And with that, I'll give it back to you guys. Thanks.

Thank you, Dalton. You made a really interesting point. And I think Roz Dimon also made a comment. And the chat channel you might want to look at, but the artist has been talking about touch and mark making. And I think touch and mark making is obviously the most historical and primitive, primitive, you know, aspect of making images from, you know, Neanderthal to the digital. And this touch is what, yeah, Roz was saying that, you know, digit finger. And, you know, we have this now digital mark making to find this form, new form of human expression. So I appreciate everyone making that connection to what the expression is part of Techspressionism is. And one piece that has to be seen by visiting the show, because it's so interactive and you have to walk through it. And it's the piece by Christine Schooley.

Steve Miller

And could you tell us a little more about it, please?

Sure. My name's Christine Schooley. I'm going to share my screen. It's sort of a demanding piece because yes, you, you have to be there. I will do my best to talk about it and show you. See, so I am interested in lines in time in light and motion. So I work with light, which is also extremely, you know, one of the most primal things you can come up with. And one of the things I'm really interested in is the solidity of light.

Christine Sciulli

So I, I've made lines in the space and with string. And then I also created in a rather intuitive way, a series of lines in two dimensions that move and shift and connect overlap in order to project them onto this 3d structure. So this 3d structure is made of straight lines combined with lines of light projected into that three dimensional form. And then it generates a series of points. And if you remember from like basic geometry, the intersection of a plane and a line is a point. So one of the things that really intrigues me about light, I'm just going to fast forward here for a second, is that it's, it feels solid. And it's hard to explain how it feels solid, but when you intercept a plane of light, you can't, you can't see it until it hits another surface. So here we have the lines of string and they intercept this plane of light, which is a two dimensional sheet of light.

Christine Sciulli

And wherever the plane of light intercepts is intercepted by the string, you create a series of points. So all of these points are coplanar, not unlike the sun in our solar system. You know, the sun's light is basically like a point source in our direction. It runs through space and you don't see it until it hits a medium, some material. So I find that incredibly fascinating. So here there are three projectors in the space. They project light through this network. One is coming from straight down above the portal that you see between columns. And the other two are mounted to the top of a portico that was created in order to help make a light type light.

Christine Sciulli

So here we have two points of light that are connected and these points are connected by these strings. We see that as you see the line on the floor starts to spin, you see that the plane of light in space spins, but it's only connected by these strings. The strings generate the points of light coming close here.

Christine Sciulli

One thing that I think is interesting is the sense of scale so when you're talking about these points of light and scale the scale can be you know minuscule it can be atoms running around it can be synapses in the brain it could be you know on an astral plane it could be like in space really large galactic so I've studied engineering and then I said at Penn State architectural engineering and then I studied combined media at Hunter College back in the 90s and light was always the thing that drew me in every project I worked with projection for the most part I made my own slide projectors and you know had very primitive video projectors early on I worked with super 8 and 16 millimeter before that I'll just walk you through this space so a person is if you go there's the portal you can see the portal in the first picture so you can get a sense of scale so the space is about 16 feet high and the structure of string spans about 18 feet by 18 feet in the center of the gallery another thing I'm really interested in is dark adaptation so when you first walk into this space it feels something like this you walk in you're this is the light of the room and

You're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the

Room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the room and you're not really talk to the light of the plane that, you know, they're part of.

Christine Sciulli

And you have these different planes rotating and recombining in space. And that's it. Thank you.

Thank you, Christine. My apologies for mispronunciation.

Oh, that's okay. It's common. Just don't try to spell it.

All right. I just wanted to add really quick, too. I first saw a smaller version of this piece when Christine and I were in a group show together at a gallery called VSOP up in Greenport that Scott Bludorn put together a few years back. And it was actually installed in what I think was like a closet. It was a much, much smaller version of the piece. And I brought my daughter there. And we were both like, what is this? You know, I thought it was like fiber optics. And then when I started to put the show together, I noticed that Christine had a piece that was installed in the front that was like a big sort of interactive room. And I thought, well, what is this? And I thought, well, what is this? And I thought, wow, that would be amazing if she could recreate that light installation as part of this show.

Colin Goldberg

So when I invited her to come check out this space, and she was like, how about this room? And I was like, okay. And then it took a little bit to get the sort of proposal of what the piece was going to be. But when she actually said, I'd like to do this piece, I was really stoked. And there were definitely some technical, technical issues that we had to overcome. Joe Diamond was super, you know, amazing helping getting the light blocking going and everything to make this successful. But I'm really pleased that this piece could be part of the exhibition. And it definitely is something that you really can only experience in person.

Colin Goldberg

This is thanks, Colin.

This is I am in agreement, this is an exhibition, you really have to come visit, because there's so many different takes on how technology intersects with fine art. And I think it's really important to have a sense of what the art is. And I think that's the key to the art. So I hope everyone gets a chance to see the show. It's on, I believe, until July 23. If that's okay, thanks, Colin. That's right. The next person, Dan Welden, we've already seen already in a still image from Roy Nicholson presentation, he's worked and collaborated with many artists on the screen out here. And thank you, Dan, take it away.

Steve Miller

Dan Welden So your mute is on, Dan, do you want to unmute?

Colin Hey, unmute. How's that?

Dan Welden That's perfect. Thank you.

Colin Sorry about that. Well, thank you very much, Steve. And also Colin, thank you so much for inviting me to participate with all these amazing people. And it's, it's great to be towards the end of this whole session, because I'm learning so much from everybody. Colin Helen Dan Welden Thank you. Dan Welden And thank you, Helen, for being involved.

Dan Welden

My work is, as you said, it's similar to what, what Roy has done, with the exception, I had to do this all alone. I didn't have, I didn't have any help with it. And the two works that are in the show actually are very, are similar in the sense of what Roy did. He had one plate. Colin I had one plate. But these images are quite contrastingly different. I mean, if you looked at one, and then can try to compare it to the other, you probably would have to really look for some telltale signs or telltale tracks that would be exactly the same. So but what I have, I don't know if this is visible or not behind me in is the actual plate, because this is a little bit interesting, because I'm going to stand up and show

This.

This is this is the steel, steel back polymer plate. And this is how the image evolved from it. This little bit over here, this piece of paper is what the pure impression looks like. So if you compare this pure impression, where it came from here on the, let's see how that goes. Colin Yes, it's like that. Colin Yep. This is a mirror image of that.

Dan Welden

Folded it over. It would look very much like a Rorschach in a way. Colin Because one thing comes from another. But in this particular case where I've developed the image, I then inked it differently on the plate, put a piece of paper down on top of it, and then cranked it through the press. Looked at it and in the case behind me is how the other ones looked. I really didn't like them too much. And I have this habit of changing what I do and not knowing where I'm going until I'm doing it. And finally it changed and evolved into what it became.

Dan Welden

So and this is to me the exciting thing about making art is the unknown, the journey of not knowing exactly where you're going. What's going to happen what's it what is it going to look like so in these particular cases the print came off the press and then I looked at and examined it and said okay what am I going to do with it now and I used acrylics and caran d'ache crayons and even ballpoint pen whatever it takes the interesting thing is I don't always remember what I do until afterwards and I look at and I have to examine and say oh yeah I guess I used this or that material the material isn't really as important with what the final outcome is because that's where it's where it tells the full story of whether it's it succeeds or not in my eyes so I've been doing this kind of thing and now I'm getting into a little bit more technology of and I have I have to say I have a partner with this technology that partner is nature and the idea of using nature as my technological partner using how nature rusts and corrodes things and then I work into them further and that's into the series that I'm currently working with in asap's fable series that's actually going to be we'll be doing some work along with the pianist axel quinky at ltv and august 23rd in the evening and be able to show what's going to be going on there so thank you very much for this opportunity to share with everyone and also for everyone sharing with me thank you yeah

Thank you dan great to get a little studio visit there one nice thing about zoom is peeking behind everybody's image and seeing you know a little bit of a studio in the background I know people enjoy that and I'm going to show you a little bit of a studio in the background and thanks for giving us a look at your studio as well dan and I

I just wanted to also add one note about dan I don't know if you had mentioned it in your commentary but you actually developed or helped develop the whole solar plate process correct I

Did I did and the interesting connection actually that Colin and I have is his professor was one of my students. And so that was at Janet Bowick at Bowling Green University, chairman of the printmaking department was, I think, Colin, your mentor, right?

Yeah, I had her for a graduate printmaking class at BGSU. And she said, hey, you're from Long Island. You know, do you know Dan Welden? Because we were learning solar. Printing at the time and I said I didn't and she said well you should look him up he invented this so when I looked him up I realized that dan lived lives about 10 minutes from where I grew up. So over Christmas break, we did a studio visit. And, you know, it's been amazing getting to know you and your work and really pleased that I could include you in the exhibition.

Thank you, Colin. Thank you very much.

Thank you, gentlemen. It's not surprising. We heard about the first word of video today with Frank Gillette mentioning video. Obviously, there's a bit of video in the show. There's a compilation of artists that aren't around our area that couldn't provide the technology for everyone to shoot a video. So there's a video loop of a group of artists. And then the next two speakers are talking about singular video pieces. And we'll start with Nina Yankowitz.

Hi, all. Thank you for having me. I'm really thrilled to hear so many interesting discussions that have been going on. It's great to hear people really just talk about what their intent and their content is about. And I appreciate my being able to share some of this. Thanks, you all, for inviting me. The biggest issue that I'm learning from everybody else, and this is my main issue, is why? Why do I do this? What is this about? Why have I spent my life always trying to create either tableaus or Alice in Wonderland scapes to invite people in to look at the content and maybe experience something in a new way about social injustice, about underserved communities, topics of oppression, and so on. And I think it's really important that we have a way to do that. And I think that's what is going to be so important.

Nina Yankowitz

And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's what is going to be so important. And I think that's going to be so important. And I think that's what is going to be so important. And I think that's going to be so important. And I think that's what is going to be so important.

Nina Yankowitz

And I think that's people, all of us, share being in the community of human beings. Human beings, we just all have been either excluded, unfairly dealt with, for myriad reasons. So for me, making art has always had this particular focus to bring people into a, either whether it's a physical installation or video projections, bring them in and have them experience it and think, wow, this is something I can be part of to change because I don't like what's happening. For this Techspressionist show, one of my biggest, concerns has always been unsung sheroes, unsung sheroes in science and, unsung sheroes in all walks of life. And I chose to work on, with this woman, Emmy Noether, who I found a really fascinating, scientist that she really should be as well known as, Einstein from my perspective.

Nina Yankowitz

My personal perspective. And, there, I created these two, like tableau pieces, like architectural windows, faux windows for you, the public to enter, enter, look at these windows, into these windows with moving shutters, digital shutters that give you glimpses into the practice and the life of works of, and we know they're from two different perspectives, each screen in conversation with each other.

Can you see this?

Yeah, Nina, do you want to I know you're yeah it's on the screen share do you want to bring that up yes I'm okay I'm

Trying to find it's not coming here right now that'd be the problem with it hold on hold on hold on it's not showing up and he has to be closed you

Know it's a keynote here you should close this because this is here

You don't see it. Let's see. Do you see it now?

Yes, we do. Great.

That's great.

It just lets us understand your two images that you're talking about, Nina. Thanks.

All right. Okay. Okay. So these are the two, it's like an architectural facade, so to speak. The left window that you're peering into seeing fragments of her work and life. The right screen is Emmy Noether, as you would see her as an updated to this era where she talks about being, well,

I know I don't have to say her name. And angular momentum.

But you can continue.

Let's try to do it. The angular momentum inherent in Einstein's theory of relativity amplified, proved, and explained that his theory exists because of understanding that it's part of the universal nature of all things.

And we know they're proved. I was the first person to prove science theories, nobody was listening to him at the time. Proved his theories mathematically. She created something called abstract algebra.

That's one minute remaining.

These are body parts. I've used her abstracted body parts to communicate a lot of her theorems because she was someone who people, you know, they would talk to her as a woman. She was overweight. She was whatever, you know, any kind of, you know, physical matter. So I used her body parts to show the brilliance of her theorems.

Nina Yankowitz

And this is every no there's on the left and on the right now.

My work is used to study black holes. Thought of as for decades after I died. You can be created or destroyed. A rocket which converted. Into kinetic potential. Dictates that energy remained conserved. Meaning it remains constant.

That's time.

Think about this. In my case, it took them over 100 years after my death to learn. Science isn't a boy's game or a girl's game. It's. Everyone's game. That's it. Okay.

Thank you.

Steve. I think you're muted.

Yeah, thanks, Colin. One thing in this exhibition that's interesting, there's a vast amount of diversity. It's extremely international. Obviously, we're focused on the East End here. Colin, how many different countries? I think you can just interject. There's

Over 20 countries included in this show. So there's 93 artists and over 20 countries are represented. There is a grid of 15 works that represent 14 different countries that are physical works in the show that were fabricated on aluminum panels for the exhibition. And there's also a reel of artworks that are digital pieces that are digital still images.

Colin Goldberg

Works and NFTs. And that reel is actually visible online as well. It's on the Techspressionism.com homepage. If you scroll all the way down towards the bottom, you can watch that reel. It's a little over an hour and I believe there's close to 40 artists in it. And there's a lot of the international artists are represented in that reel as well.

So that, that I wanted to make that one point because what we're seeing on the East end with this particular group is your understanding is very early involvement from many different directions of entering the digital space. And that gives this particular East end group a kind of depth of experience. And also I think quality of content that is indicative to this particular area of the world that's always been a hotbed of creativity. And one of my early, early experiences in video, I was fortunate enough to know Namjoo Paik and show in the same gallery with him in Paris, which is my segue into John Zieman, who is an early worker and experienced artist. And he's a very good artist in the realm of video. So take it away, John.

Hey, thank you very much. And I'm really honored to be part of the group. And it's been an exciting show. And I thank Colin and the SAC and Steve. I was very excited to talk with Colin and go over some ideas for what to be included. I do a wide variety of work and thinking about Techspressionism, I just think it's so exciting when technology meets personal expression. It's something I've always been excited about. And this came along at a time when I've been digging through my vast archive and I'm converting old tapes. One more last played, get them on digital before they die. And that's something that Frank had also mentioned.

John Zieman

It's an expensive sport doing that too. So yeah, hi, I'm John Zieman, New York City, starting in 1980 and Hampton since 1990. At first it was just summers. Now I even vote here. I've always been a very technologically adept person, particularly focused on music and video. And I focused early on getting access to big recording studios, and then later TV studios. And sometimes I had to work there to gain the access just to make my own work in the off hours.

John Zieman

And in the late 70s, I commissioned that video synthesizer showing in the SAC now to be built to my improved specifications. I'm going to try to do a screen share, but this wasn't working too well for me before. Let's just see if this works now. And then if I push, let's try this. Do you all see? Yeah, okay, good.

You're up and running, John. Looking good.

There it is. All right. I envy those people that have someone sitting next to them to make them calm when they're wrestling with this Zoom stuff. So yeah, so this video synthesizer at the bottom I had commissioned to be made, and I had some special things I wanted to have done with it. And I made all this footage that we see in this piece before I got to New York in 1980. And when I brought this machine tonight into New York, Nam June Paik heard about it and understood that this was a very improved thing. And we got to work together. And the machine got a little bit famous when he used it. And also I processed footage for his work. And then I'm just going to try one more thing here with the playing of... Let's see if this works.

John Zieman

And I don't know. Let's see.

Black push. Does that work? Where do we put the playing? Yep.

Is it moving?

Yep, you're playing.

It looks great. All right. So is it too loud? OK. So then this thing, this is crazy colors. So I made all this footage before 1980. And back in those days, most artists could only get their hands on black and white cameras. So this... Wow. Wow. The fact that this is all the colors are being made in the synthesizer from black and white pictures.

John Zieman

And then, let's see. Later, I got more skilled with the synthesizer and made really pretty pictures with soft edges and could control the color and stuff. But looking back, I kind of like the punk rawness of these nearly illegal colors and unlock signals as a sort of young gesture. And then... And then, so as somebody said, and I'm pretty sure it's George Lucas said about motion pictures in general, over half the picture is sound. So this is a weird music composition I did on Moog synthesizers, very kind of abrasive.

John Zieman

And this was actually premiered in a formal electronic music concert before I made this piece for the videos. Wow. You know, so here you can hear the poem being read through, you'll hear the voice of the poem.

There's a man in every machine. Many machines fail to talk to one another. To do your daily tasks. But just to be safe, and you will take back the time you just took. To refer to myself. To find myself. And you don't worry about people. One

Minute. Great. So the voice was being processed through a synthesizer. And so I just wanted to mention that it's often easier to talk about all the technical stuff of art, you know, oil versus acrylic or platinum print or gear or software or signed and numbered or NFTs. But it's harder to directly remark on the artistic intent and the expression, whether it's a, you know, pure abstract visual play or a portrait of someone famous or a fresh twist on a piece. That is what that's half a Techspressionism right there. And I'm continuing to work with my artistic searches, both done 3D videos where you have to wear glasses and, you know, doing large installation work where you can't see it on a zoom or a single screen, you know, multiple channels and stuff. So I'm always finding technical stuff to explore and as well as make work that I hope has an emotional core.

John Zieman

And thank you very much. Thanks for including me.

Thank you, John. Studying images and also great to see the depth of history and experience in this room. And if I think about the history of this Techspressionism. This. This is a photo from 1993. That's Colin Goldberg on your left and sitting down. And that was the intro that was made by Roy Nicholson. On the right is Robert Barton who was silk screening for Warhol that had taught me the Warhol silk screen technique and now a critic and book publisher and a teacher at Sotheby's Institute is Kathleen Madden. So there's. This is maybe the seed bed of Techspressionism.

Steve Miller

And I'm really happy that I was able to work with Colin and have this experience. And, you know, the one thing that we talked about in some of these images is, you know, this kind of mark making and this expressionist experience and what I saw when I went to Rio de Janeiro in Brazil, which Dalton would say was a great experience. And I think that's what I would definitely know about is this crazy sense of electronics, you know, digital electrons moving through wires in space that make these crazy layered gestures of human necessity, which is the people in the favelas of Rio taking the wires in the and the power that they need and just randomly hooking it up. But it becomes this kind of. You know, it's. You know, expressive gesture of human behavior and I became really interested in how there is this merging of a collective statement that reminded me of Jackson Pollock and at the same time, it's coming from a completely different impulse, and yet it has this notion of combining technology and expression, and that ended up being the base painting that was chosen by my publisher was actually not my first idea, but for my next book and third book of a book.

Steve Miller

I have a three part series about energy and environment that starts started in the in the Amazon. And in my experience of seeing how the Amazon was deforested and how it's used using Brazil as an example of that and there was this idea that if the Amazon was the lungs of the planet, I could actually give the planet, a metaphorical checkup by doing x rays of the floor and fauna the Amazon so this book is really.

Steve Miller

So I'm going to start with the off and that's the first thing I'm going to just start with the first thing I'm going to work on and that's the big first thing I'm going to say is I'm going to need to think about is that I'm going to have to think about is that I'm going to have to think about that the world is... 90 degrees clockwise, you'll see a landscape and a window on a wall in the favela. So I love the idea of rotating. And I have to say that I initially showed this at the National Academy of Sciences in the show about the Amazon called Health of the Planet. And then Colin selected this. And I love the idea that he emboldened me to look at it from another perspective. So you're looking at satellite views in pink of deforestation in the Amazon, and the black in the center is a type of fern that I photographed in the jungle.

Steve Miller

And then the black lines are also maps of cities and deforestation of the Amazon. So the Amazon became kind of a metaphor for me of what's going on in the planet. I know a lot of you have all talked about that. And we can open it up. I don't know how we're going to do this. Did people know how to do raised hand? If you go to the reaction button on your screen at the bottom of the toolbar, and if you click on that, you can do a raised hand. And if I see your raised hand, if there are questions, yeah, you can ask the question and I'll identify you. Or you can also type something in the chat.

Steve Miller

Let's see the chat channel if anyone has got a question.

I see Michael Price has his hand up.

I do. I see that. Michael, can you unmute? Would you like to say something?

Thanks, Steve. Wow. This is a very impressive group. Thank you all. You're very inspiring. Okay. So it's interesting to me that... A lot of you have been wrangling with technology from its infancy in terms of the digital technology, when things were very limited. And your creativity had to be used in ways that are potentially very different than today's generation that has so many more tools that could do so many more things potentially. And I'd kind of like to just... Anybody who wants to step in, I'd like to just... Anybody who wants to step in, I'd like to just... Anybody who wants to step in, kind of how you've seen that evolution and what you take from that.

Michael Pierre Price

Just in terms of... Because I have a background in the game industry back in the day when we were doing Pong and things like that. We were doing games that were very simplified and now there's a whole big retro interest in a lot of that, even though today's games can do circles around it. Circles around it. So I'm just kind of curious about how you feel about the advancement of technology in your art practice and just creative individuals where you want to go.

Roz, is that a raised hand to answer the question or is there someone else who wants to jump in? Unmute if you're responding.

Yes, it is raised hand to... Well, I don't know if I can answer the question. But I certainly... I'd love to hear from others. Hi, Michael. Hey, Roz. But it's quite fascinating when you look back. It's hard... I mean, I work with a young 23 year old programmer who works in GitLab and all these things. I used to do HTML processing, but there are some people here, Annette and others who are part of a group that I started in New York where nine of us got together during the 80s and 90s picture element. And at the time, you know, we were working with a group called the it's hard for like someone like my programmer who's 23. I go, well, wait a minute. We were doing digital art when there was no... I mean, we weren't even online. There was... We didn't have the internet that, you know, we were calling each other with and clunky, putting these things on big clunky disk and sharing them with each other.

Roz Dimon

And it's not like I'm not trying to be like my parents when they said, well, I didn't have a 10 speed bicycle. It's not complaining. It's just watching the massiveness of this. The exponential growth of this industry and how it's driving us all. I mean, and me too, crazy a little bit. You didn't used to have those kind of interruptions, but it's fascinating to see that we were going after... But pixels invaded my paintings before I even knew what they were in New York City. And that's a fascinating kind of perspective. Only now can I look back and kind of see what's happening. And now there's this new wave. I think there's a second dot com wave happening now where things are... People are coming to escalate to a whole new point where people go, oh, what about gifts? Well, those have been around forever.

Roz Dimon

I guess. But I don't say it as a cynic. I think we have to be open to the young and what's happening. But it has been fascinating to watch.

And Roz, I guess my point is. This group that is presenting today doesn't feel like, you know, like an 80s hairband that wants to keep doing the same thing over and over because people are... Yeah. You know, used to that and you don't grow. You are showing that artists are explorers and with the technology,

There's new exploration. And that's where all of you have inspired me today.

Right. Kudos to everybody's work.

So let me queue up two more responses. Nina, you're first in the queue. And Suzanne, can we follow with you afterwards? OK. And you keep it both fairly short, just in case. We've got, I guess, six or seven minutes left.

OK. I'm going to try to make it short. For the question or the issue about gaming, I was very influenced by gaming. I'm not a programmer. But I collaborated with artists from around the world through different MIT projects. And I used gaming, those old games, they were the underbelly of all of my of these interactive, you know, things. So I took these tools I created for Criss Crossing the Divine or which actually was shown here at Guildhall in 2013.

Nina Yankowitz

But these different installations that dealt with participation, interactive participation where the people in the audience were not the audience. They were participants. They became active participants in what was going on. All based on what they thought was happening. On gaming structure these interactive tools were based on those very primal primitive games that you're talking about and I love them and thank you

Thank you nina suzanne

You can jump in but I just want to preface

Suzanne yes just to answer michael's thing about where it's going suzanne started something at the school of visual arts called the bio lab which she maybe say something about but that you know the idea that a bio lab would be a new technology experience of fine art a new medium is pretty revolutionary so I just I don't know if you're leading it without tuesday I wanted to mention that well

Thank you very much but biology is technology and technology is biology but I want to address the elephant in the room because all of this technology is essentially embedded in what we call the information age which is really the disinformation age so there is a series of downsides with social media with fake news and with the ways in which technology now has alienated us even further from being human so I just wanted to make that as a comment that this is not the great panacea but this comes with consequences and the same way in which tv changed your brain technology is now changing our brain and for better and for worse

Thank you suzanne

Okay we can open it up for comment we have a few more minutes if somebody wants I just wanted to say something real quick steve you know I think it's important to note that the you know the show impressionism digital and beyond is happening in southampton on the East End of Long Island and I really don't think it's a coincidence that it's happening very close to where pollock and a lot of the abstract expressionist painters did their seminal work in fact I think I'm going to make a point that at least for me for this show we're going to do a little bit of a I think that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the first thing that we're going to do that's the paint splattered floor.

Colin Goldberg

And it was a very, you know, it was a very almost spiritual moment in the sense that I sort of almost felt like his presence there. It was strange, you know, and I also had been, you know, working with computers, you know, as, as a kid, I had a Commodore and through the eighties did work with computers, but was exposed to the expressionist ABEX people at the time, and then studied under an abstract expressionist. So I think it's interesting that this show is happening, you know, where abstract expressionism originated to a large degree. I mean, people might say also downtown New York city. But I just, you know, I wanted to put that out there and see if anybody had any thoughts about that and you know, relevant to Techspressionism as a continuation of sort of expressionist thought or ideology.

If I can jump in just a second, I think that in, in general I think I was doing some writing on this as the idea of like the resonance of, of account of ideas that, you know, came that keeps coming back. In other words, it's like the expressionist, then the ABEX Nia and Nios. And it's once again, as you know, as culture develops, as Kandinsky said, you know, the, a cultural expression of its time. And I think the idea is that the affective, you know, the emotional is you know, is, is a primary human dimension and you know, it keeps kind of keeps maybe putting on a different coat for, you know, a different occasion, but it's, it's here we are.

My generation, you know, the most influential work was abstract expressionism and pop. And, you know, there was this notion of, this, you know, touching this emotional psychic space that, that Pollock had access to and other artists as well. Certainly someone like the emotional content of, of de Kooning is actually being very much debated today, especially around his images of women. And Warhol gave us this other frame of, of reference of, of pop culture. And certainly those are two of my biggest influences, but the idea is that, you know, technology is a new language system. And art is always made from the important language systems of its time. You look at, you know, you go from Byzantine art to Jado, you have mathematics, one point perspective, then you get two point perspective in mathematics and you have this new language system that invigorates the Renaissance.

Steve Miller

And we're at that same moment of time as many of us saw, you know, years ago, and we're still fascinated by this new language system. So maybe the, the idea that we're going to have to develop our own language systems. And I think that's a really important comment on Michael's question and, and also not to Suzanne, you know, the idea that these languages are developing evolving, we're going to have things like, well, it's already here, AI, new tools, new programs and, you know, new concepts of what the actual medium of art could be, which in, you know, the bio labs case, it's where technology meets biology. So where is this going to go? It's going to be driven and innovation with, with new language systems and new software, along with new participants, younger people coming into the system with their own personal take on it.

Steve Miller

And with that, Colin, where are we on time? Is there anybody that has an urgent wrap up thought?

Yeah, I think we can get, we can run until 7 0 4. 5. Cause we started recording, I think at 5 35. So I think we can go for about five more minutes. If anyone else would like to, to ask any questions of any of the presenters,

This is final word urgent.

I would like to just pose this question to any of the presenters that would want to answer is how do you, maybe in one sentence, how do you personally relate to the, to the idea of Techspressionism?

It's an interesting question. I think in the story you just told me, you really were very clear on the idea of text and it's an interesting point.

And I think in the story you just told me, I think you really were very clear on the idea of text and you really had a good sense of that. And I think you want to think of it in a way that is really important to And I think you're going to have a good sense of that. And I think you're going to have a good sense of that. And I think you're going to have a good sense of that. And I think you're going to have a good sense of that. And I think you're going to have a good sense of that. And I think you're going to have a good sense of that.

Frank Gillette

Comically oriented. I never played a video game, for example. So the overlap of generational meaning even, and the phenomenology, so to speak, of the discontinuity, even among generations. My granddaughter speaks a language with computers that runs circles around my understanding of it. And that's so the issue of discontinuity has become a rapid phenomenon.

Frank Gillette

The distance between the first photograph and let's say the first telegraph, both basically invented at the same time, invented a certain kind of discontinuity. I'm going back to McLuhan now and ratios of experience. The point I'm trying to accelerate here is that things are running fast. And I'm trying to accelerate here is that things are running fast. And I'm trying to accelerate here is that things are running faster and more discontinuous in the historical sense.

Frank Gillette

If that made no sense, I'm sorry.

You know what, I think it actually makes a lot of sense in that the, you know, in the, in the recent past up to now, the production of information, you know, through digital networks has been exponential. And it makes perfect sense.

Yeah, it's a very good point. The change is so exponentially faster. But I also feel I guess I'm a hopeless optimist, you know, like Francis Bacon, you know, I'm optimistic about nothing. I believe he said that. But I do believe that artists who are able to take hold of this medium and tell stories and I don't mean like Pollyanna stuff, you know, but and make and bring all the imagery that we have. But I do believe that artists who are able to take hold of this medium and tell stories and I don't mean like Pollyanna stuff, you know, but and make and bring all the imagery that we have. In some ways, I think we're the new storytellers.

Roz Dimon

I mean, words are it's a new kind of hieroglyphics that's happening. And when you think of how many images everybody sees day to day. Colin, you did ask us to do this in one sentence, didn't you? Doing very well there. But it is a new rising language that is fascinating to me.

Any more one sentence wonders? Thank you, Roz.

Oh, yes. Steve, I think that would be great. I think

That would be great. I think in some way that we have that we have never left Lascaux.

Yeah, Lascaux wasn't on the market.

No, no.

I want to contribute one sentence. And that is to say thank you so much to Colin for bringing this group together. It could only have happened on the Internet. But it could only have happened with his imagination. His vision and his understanding of how this new medium, these new media can help us to tell not only our own stories, but stories that resonate with many others around the world. So thank you, Colin. And thanks, Steve, for moderating.

And thank you, Helen.

Yeah, Helen.

Helen has been very much the guiding light, the historical perspective, auteur, essay writer, guidance counselor. And mentor. So Helen

Is actually the first person to use the term expressionism in print as well. She wrote the first essay, you know, about the topic back in 2011. And I'm looking forward to an upcoming essay. So stay tuned for that. We're not letting we're not letting you go, Helen.

You left out Chief Cook and bottle washer. Don't forget that.

She's our trusted.

Advisor and is very instrumental in helping to find the term. So many, many thanks, Helen, for all of your guidance and support.

You know, this has given me a lot of food for thought for what I will be writing about. And although I always tend to hark back to Jackson Pollock and his approach to technology, I really feel that somebody put in the chat that Jackson and Lee would be digging this. And I heartily agree. I think it would have been a revelation. I think it would have been a revelation. As it is for all of us, what we can do with this, what can be done with it and what will continue to evolve. This is not the end product. This is just the beginning.

Thank you, Helen. Thank you, Colin. I have to say that Colin is a person that really encouraged me to bring this group together and help organize it. And it's just great to have this kind of core experience on the East End and the kind of spokes that Colin talked about that goes out into the world. With. The show of the tax oppression ISM. So thank you all for participating today. And.

Steve Miller

Lovely to see you all in here, your experiences.

Thank you.

Thank you, Steve. Thank you for moderating.

So I'm going to count this down to stop recording, but I do want to preface it to say that in lieu of what we used to have, which was an advisory board, we now have an after party. So anyone that wants to hang out and help. You know, talk about what the next things to do are or kick ideas around or just generally hang out and be nerds together. You know, you're welcome to stay and we'll keep the zoom open. So I'm going to stop this recording in three, two, one and cut.