Salon 81 // April 4, 2024

And. Hi this is Colin Goldberg, and welcome to the Techspressionist Salon Number 81. Today is Thursday, April fourth, 2024. And today's theme is open studios, which is basically kind of open ended sharing anybody who would like to share their work. Is welcome to do so At this point we have 4 p. 5 people in the lineup. And each share is gonna be approximately 5 min or so you're welcome to share your screen and show your work. Keep in mind that if you do wanna share audio, you have to tick the box to share computer audio. When you start before you start your screen share.

Colin Goldberg

So Without further ado, I will get us started. And seems like the raise hand thing is not. Completely working for some reason. But I do. I am taking some Notes of a list. So if anyone who would like to share. Wants to just kind of jump in after we have Michael Woodruff, Michael Price, Cynthia Beth Rubin, Tommy Mintz, and Susan Detroy. So far the line up, so we'll get started with Michael Woodruff and go ahead, and if you're anyone that is not sharing, please mute yourselves also.

Great. Hello, everyone. I'm just about to share my screen so hopefully, everyone can see this. So I'm Michael Woodruff. I'm based in London. In my 20 years I've been working in my TV and film. I do a lot of visual effects, animation. All sorts of things and maps and everything I've and recently be joining the salons weekly and showing some of my work. And so basically, I work a lot in the animated in the world. And I draw inspiration from abstract and impressionism and graffiti. So try and take a lot of those brush marks and textures, and create these like over the top kind of animated films.

Michael Woodruff

So I can show you some kind of looks. So I've sort of come off the end of like working with a lot of design studios. So I'm trying to bring in a lot of the design systems and how they deal with typography. This is a music video I did for underworld. Not that they know, but it's kind of Yeah complete. I'll show you a quick clip. Here.

Michael Woodruff

Sadly. Light is crossing and the sky clicking, flicking. The indicators like it'll roll down these feet. Sinners is coming in silence.

Michael Woodruff

So I create this like rapidly shifting imagery. And trying to bring in all those kind of like based on what the expression is about all those forms and shapes like trying to elicit a motion and put them in. And I've at the moment I'm working in a few different areas. So the first one I have is like I call it my machine textures. So I'll go through these quickly, because I've got quite a lot. So I'm just working, taking that inspiration from a lot of the abstract and impressionists.

Michael Woodruff

And trying to create kind of things where it'd be like using color as like Rothko would have used or like in Jackson Pollock, with a lot of energy in the action side of it. So I'm taking all of these like scan, like real brush strokes, textures, and things I build up over the years and trying to. You know, does it elicit any emotion in me? Is this, you know I'm happy with this. I'm trying to push. I'm trying to, you know, like my kind of mantra is like the screens that you know, we've got so much digital screens now, but the branding and advertising.

Michael Woodruff

I'm trying to bring it a bit of joy. And we have, like a. You know, a responsibility to put nice stuff on these screens, and. You know, make, you know, make pretty nice stuff. And I had this piece recently in an exhibition. So it's kind of quite meditative. You know, I'm drawing on a lot of like. A lot of those marks like graphic design systems and structures, and trying to put it with like dance music, and I'll show you some more kind of.

Michael Woodruff

You know, I'm trying to riff on with what's happening in the tech world and the Plugins and software we use. What of the AI, how it's all generated and controlled. And you know, being quite robin, just relying and just creating like a demo scene, trying to really push and ecow, and. You know. Just make make something that I'm sort of happy with. So I've got one of these things here. This is nice triptych. I was thinking about the color, the kind of form it's easy to see in black and white, and just how you know we these will sort of be viewed.

Michael Woodruff

I won't. So that's one of my and things and number one is like digital graffiti. So it's sort of similar thing.

Yeah. About 1 min. Left. Michael.

1 min, so I'll go through quickly. So these kind of forms. So I'm using the graffiti kind of shapes you'll see all sprayed up over your town. I'm trying to create these Afro kind of euphoric pieces from that. So those I also do a lot of things with like archive to use the black and white imagery to drive. So this was my nuclear bomb. I've got this one from a lot of like La Noir kind of the of them fatal and trying to drive that to drive animation systems and bring in all these kind of textures.

Michael Woodruff

Got another one here. It's like dancing. So I'm trying to bring in a bit of the archive to trying to tell the story. And you know, with whole traditions and bring that in. And I'm just going to show you some new work I'm working on. So using that these are kind of I don't know kind of grungy kind of abstract. And worlds I'm bringing in. Not quite sure where I'm going with them. Got like a little animated piece. I can probably just have enough time to fill out.

Michael Woodruff

So trying to be a bit more meditative and Quiet with this one rather than over the top and full on.

Alright awesome. So I think that's about time. Thank you, Michael. And I think what we'll do is you know any questions that we have for the artists. We'll kind of push those towards the end, and that way, maybe be a conversation about some of the parallels and the interconnected things between the work that we've looked at so.

And I've got some my social handles and my website. So you can. Yeah, dial.

Yeah, absolutely, you know. Feel free. To share those in the chat. So yeah. And it's great to have some participants outside of the United States. It's always good to see. So next up we have Michael Price.

Thanks, Colin. Signing in here from Phoenix, Arizona. Let me go ahead and share. My screen.

Michael Pierre Price

So.

Michael Pierre Price

I've been. Still plugging away on my book. And one of the areas for me that with my physics background and our understanding and our questions around modern physics. We all hear that we're made out of atoms and particles and such and every atom is the same as every other atom. A hydrogen atom is a hydrogen atom, no matter where you go, and if we're made out of these elements, that can be replaced and have no particular meaning unto themselves. How do? How do we become individuals? Where does that happen?

Michael Pierre Price

We hear about DNA and all of that. But fundamentally, at the most basic levels of the universe. There are things going on beyond what we normally experience every day. And where do we find meaning in that? And so for me, I wanted to take a look at sort of the minimalist background in the art world and to see why can that be art? And where is their meaning there? And where do we derive meaning? And do we pull meaning up to the human level? Or can we find something meaningful at a different level as well. And so those are the questions that I'm wrestling with in my book, and then I'm wrestling with in some of the artwork that I've been working on over the last few months. So basically, if we have black and white and shades of gray, and we have some very simple geometric shapes.

Michael Pierre Price

Some of these look like diagrams that we might have seen in a science book. And then what does that actually mean? You know, are we looking at electron orbits here? And so part of me is asking the viewer and myself. Can we find anything that's meaningful from this? And if it's not there, at what stage. As an artist, do we? So do we in view, meaning can we do things that are highly mathematical and still have meaning to it. And is there a crossover point, or is there meeting, no matter what?

Michael Pierre Price

We create? That we just have to ferret it out. So these are some of the questions that I've been thinking about, and I'm hoping that maybe some of the artwork here that I'm sharing might get you to think about that.

Michael Pierre Price

You see Pacman here. And if so, what you know, what does that say about me as a game designer. And if you see that, what does it say about you and our culture? And then now, what happens when we add color? How does that transform things. Does that all of a sudden add something, a new impact that wasn't there before. And this color have essential meaning. And I start thinking about Kandinsky. And that the you know, the writings that he shared on the spiritual quality of color and shape and meaning that comes from there?

Michael Pierre Price

And do we have a stronger affinity because we have a world in which color has meaning for us? Whether it's the spiritual connotations that we see in color, or the natural phenomenon that we see that is colorful. And then now, when I go back to something very simple. But now we add one essential new color beyond the black and the white and the gray does that have information to those red dots mean something different than the other ones?

So 1 min. Morning, Michael.

Okay.

Michael Pierre Price

And then. Now. What I wanted to bring into this was a sense of what if we add a 3D. Element to it. Now, this looks like it's artwork on a stage. What does that do? What does that three-dimensionality add to meaning or to understanding? And then here again looking at something more along the lines of a Kandinsky kind of piece. And then, finally, this last one is. How does this impact? Why is this different from the other ones before it? Is it just the shading? Is it adding more shapes? Is it the sense of more complexity?

Michael Pierre Price

And is it that sense of complexity that brings meaning? And again, where do we find meaning? And how do we draw meaning from things that we see in the world around us. And I think that's cultural. I think there's innate sense of 4 billion odd years of evolution that is imbued in our genetic makeup. I think that all of those things as artists that we struggle with, and we look to imbue within the artwork that we create. So thank you.

Awesome. Thank you, Michael. Alright. So our next presenter is Cynthia, Beth Rubin. Take it away, Cynthia.

A actually is there any chance? I can go at the end and have it not recorded? Because, this is for symposium that I'm presenting it tomorrow.

Sure.

And I just.

Absolutely.

Okay, oops. That's sorry. That's actually Verneda calling me. She's in town for the same symposium. So yeah, I'm just not. I didn't get permission for my collaborator, so.

Gotcha gotcha! No worries. Could you? Just share a little bit of information about the symposium? I think the people here might be interested in what you're doing.

Sure. And I know about it through Umita actually and she couldn't join us today because she had to take an overnight train to get to New Haven. So it's actually sponsored by Yale school of architecture who they're working with.

Cynthia Beth Rubin

Sorry I didn't put on my, do not disturb. They're working with a lab at Mit and with Nassau on understanding what happens in Alt, it's called ultraspace. So what happens in outer space and let mostly they are actually simulating, being in space. And then they opened up this symposium to people who are doing other kinds of things in exploring how you use your body. Or how you use perception to understand changing ideas in space. So speaking a bit for Renata, she's talking about her time travel pieces that she's been doing, that people have seen, and I am doing some art and science visualization.

Cynthia Beth Rubin

And that's different, I think from what anyone else is doing. So I'm pretty excited about it. But I'm collaborating with a scientist. And I really only decided this is last minute and realized it didn't have her permission to preview our Powerpoint. So that's why I'm a little hesitant to have it recorded.

Gotcha gotcha awesome. Well, sounds like a really interesting event. So be interested to hear. Hear how that goes. Alright.

Yeah, and I need to practice. So I hope that I can.

Okay? Well, that sounds that sounds great. So let's see, Tommy Mintz his next step.

Hey? So I'm in the middle of installing a show. Deinstalling. Actually, I'm home with Nyc. Yesterday At the Hudson Guild. At 4 45 26 Street, whereas co-curating this exhibition, and I'm putting up some new work. I got a big printer suddenly. So making all these big prints, and it's really enjoying, you know, printing our printed on a drafting paper at actually 360 Dpi on an Epsin short color. P. 9,000 printer so recently acquired used. So I'm just trying to run as much stuff through it as possible. That's exciting. And another thing, I ran through it recently can't get us that close to the Camera. Here. Were commission works. I've got too much reflection in this Commission work that I printed out. These are collages of theater Theater photographs. Employee really see how many screens I have? That's not working at all. I'm gonna just put it down. Now I'm gonna show you other work.

Tommy Mintz

Get a sense of like where my mind is a lot. So everything I'm generating right now. I'm thinking about printing at that scale. 36. Or larger, really. So I'm gonna just try sharing a screen over here. Let's see. But huh! 1 s. I'm chief. Share the screen that is. On a Mac mini. That's 2,007 here that I use actually just as a client computer to remote up to my one computer that I keep in my office that I have just dedicated to having my work running all the time. And I could log in and check on The progress of my program and the various things that kind of takes, and I walk away and come back.

Tommy Mintz

Oh, I'm totally failing at running screen on this. So I'm not sure what I'm gonna share at this point, except for those couple of prints. Give me one more second here. I'm sorry I have to go into system preferences and talk through this. Wait we need to quit later on. Zoom here. On this computer. Give me 1 s. I'm gonna pad her as I type in my password and try to not quit. So let's see, got that? Got that. Let me see if I could screen share one last time desktop share and I think I actually got through that time. So here's my screen setup. I have a desktop within a desktop. Somebody asked, what does my workspace look like? And this is kind of being set up. I use finder to look at all of my images and then I often open them up in Photoshop to align Misaligned pictures. So what I'll do is I take a couple of pictures. Let me see if I could show you 2 example images, so I'll take a picture of a street corner and wait a little bit and take a second picture of that street corner for my algorithm to work. It's just a pixel by pixel comparison. I need to align the images. So in Photoshop I go to select layers. And then edit auto align layers.

Tommy Mintz

And this will create a. Larger canvas that layers are laid out on with. The subject aligned. So here I'm toggling back and forth between 2, and you can see the frame edge, shifting back and forth a little bit. And it's actually 2 different moments. The bicycle list passes. So that's what I run through my algorithm these slightly modified pictures by Photoshop. I actually need to rename all of them into a certain naming convention for my dumb algorithm to work. So they're all named photos. Something. By the way, if you're interested in running my algorithm, it's up on Github. Then I think Lee Schneider is actually Forked it recently, and I gotta check out what he's been doing with it. So I'm not gonna run my program right now. It takes time. I step away from it when it works, but it compares 2 pictures and creates a black and white Alpha channel layer mask. Colin, do I have 1 min left. Can I hear you say that, or am I hearing things.

Yeah. Just about my Tommy.

Okay, so I'm pulling up on the end here. So I ask. So the result is, the 2 pictures are compared and laid together. What's white is what's different in these Alpha channels right? Here's an alpha channel that I'm comparing to very similar pictures. So it's just the people walking by that are different. And I do that over and over. So here you could see the number of pictures that I've been comparing. And then.

Tommy Mintz

I'm just going to toggle through a few here in the next 15 s, and you can see how the resulting collage is. This aggregate Aggregation of moments this time compression hopefully that we sense of. You know a place, maybe for a period of time we have these bits of memory that maybe feel this way. I don't know. I could. I could pad her about that time, too, but that's what I wanted to share. I'm actually glad I was able to get this wacky screen and screen share showing up, because I do think when I save someone I'm done. I like one of them. What I do is I just put it on my desktop, and then it shows up in here. Now I'm gonna move away from my. Server computer if you will. And here on my client computer and also on my laptop, which is what I use to print from. I share using Apple's. I'm service. I call my desktops my various desktops, and here I have one of my final images that I'm ready to print large system or not. Finally, an hour after everything work, you know I'm doing here. I'm clicking on everybody's zoom picture. Here we go.

Tommy Mintz

So this is a picture that I shot a series of pictures that I shot in the Post office on Eighth Avenue and 30 s Street today. The General Post office is maybe what most well known for its beautiful Eps and Bosert facade. Inside there's a fantastic ceiling, and what I wanted to emphasize in this image is the light transitioning and left hand corner is, you know, light passing over time, changing position, creating a series of shapes similar to the shapes found in the ceiling.

Tommy Mintz

As I sat, and what looked at my picture, I realized it highlighted that in a way that I wouldn't have noticed otherwise. Anyway. So that's what I wanted to share today. Thank you for your time. I'm sorry if I went over. Thanks for setting through my technical woes. I appreciate it. Me stop sharing.

Awesome, awesome. Thanks so much, Tommy, for sharing. And if you don't mind, I'm just gonna take a little personal liberty here and ask you if you'd like to. Give us a little bit of information about the show that you're putting together in Brooklyn. Just so. We have it in the recording, so people sort of get it in their mind. And you know, kinda A little bit of a teaser for it. If you don't mind.

Yeah. So I'm working right now on yeah, co curating an exhibition this late summer and early at the King's and I'm gonna approve. People. Everybody on this call, I think, will be, you know, getting an email from me. I've been really remiss in continuing to get in touch with people. I know, some people have emailed me. And I've been kind of Unresponsive level of really tuitions. And once this next things up, I'm gonna start Contacting everybody asking for work. If you have work that was in the Southampton or Center X. I'm interested in reexhibiting that within this new venue. I'm interested in Fabricating work for this upcoming could maybe hold on to and then use as material for. Exhibitions. Colin and I have been putting a base in Southern Vermont as a potential place to continue to Techspressionism. Hello, Brooklyn could maybe become below Vermont or Hello.

Tommy Mintz

Toront! So one of the things I'd like everybody consider is thinking about a piece that you would be interested in permissioning for reproduction or production iter instance instantiation on my nice printer that I'm excited about using for this exhibition. And then having those as a traveling exhibition that we could People who are working on. So theme animation. Sound work. I'm interested in that as well. That's gonna be exhibited on. We have a couple of screens and purchase for the exhibition. So that's what's coming up at the Kingsborough Art Museum. You can mark your calendar Kingsborough Art Museum.

Tommy Mintz

Oh, I should look at it before I tell you the date incorrectly. August Seventh, through September 20, fifth, 2024 is Hello, Brooklyn. Techspressionism 2024. So have. Information coming out, we'll have a heart. We have A number of to do digital analog live Production. Performances if you will that are going to be. We're coordinating hopefully one day performances that will record there and also include in the exhibition as well. If you wanna come to those that hopefully will be in September. Actually, classes start in September at Kingsbury Community College, which is why we have this late August early September. Timeline.

Tommy Mintz

Alright! What else you wanted me to say, Colin? I mean, I'm happy to paddle on about that, too. But do you have any specific questions. Anybody have specific questions. We keep going. I mean, is there somebody else that.

Yeah, we have a couple of artists in the lineup, you know. I just wanted to. You know, to make people aware that we are going to be having our first museum show as an artist group, which is very exciting. And you know an actual Art Museum, Southampton Art Center. Is the site of what used to be the Parish Art Museum. But Southampton Art Center. Was not and is not an actual accredited museum. Or whereas Kingsborough, our museum is so. I think that's a real marker for the development of this project. And it's very exciting, you know. Some of the work that's been traveling.

Colin Goldberg

Tommy came up to Vermont and picked up some work from me that I had been keeping in storage from the show in South Hampton, which were 24 by 24 inch pieces fabricated on aluminum panels that came from artists all around the world. And they sent over high resolution files as well as digital signatures, and those pieces were fabricated for the show in South Hampton. 3 of them had sold 2 from artists from Germany, and one from an artist from Russia. Which left us a do. I believe a dozen pieces, and those will be, you know, represented from artists, from a dozen different countries. Physical works, which is, is really exciting. And I think the idea that we start developing a core body of work that can travel around that could be representative of the group and the community. Is a really interesting idea. So and I believe the real that contains a lot of the audio visual works, nfts and so forth, will also be sort of repurposed, you know. For this exhibition. So dig up Tommy, for you know, taking the initiative, putting this thing together. And yeah, it's very exciting and recent tenured professor. Right at the at your school, or relatively recent.

Yeah as well. It's my first semester as associate professor. So thank you. I'm there for ever. I'm never leaving, so I'm hoping to do more shows in the future. Absolutely. That means, you know, I'm not gonna do this every year. Gotta say, maybe it's a biennial thing. We call it the digital banal bionalium on the bay, or something fun.

Excellent, excellent.

Yeah, no, thank you very much. And then, I do have somebody asked. 441 West 20 Fourth Street. My theater will be up for the next month and a half, so anybody wants to see them in New York in person. That's going on too.

Awesome. So yeah, on the Techspressionism, homepage at techspressionism dot com, we do have A banner up. With some basic information about the Brooklyn show, and we also have there's a banner for the Mounta, the Museum of wild and Newfangled Art Collaborative show with tech the Techspressionist community and that's an international call for submissions that's open now. So if anyone would like to submit work, you can get to it right from Techspressionism. Dot com's homepage. Just scroll down a little bit and you'll see that it's Mounta X. Ts, or believe the official name for the show is the wild and newfangled Expressionism Exhibition. So we do have the founders here, Joey Zaza and Carian shim sham. So I'm sure if you guys have any questions, you know, after the artist presentations they are, they're here to field them.

Colin Goldberg

So yeah, we have a couple of other artists lined up to present next up is Susan Detroy. And if you'd like to present, if you haven't presented, and you'd like to present. Just drop a line in the chat or drop me a DM. In the chat, and I'll add you to the queue. We just have one other artist after Susan. So

Hi! Can I? I need to sign off and sign back on my iPad if somebody else wants to go right before me. I'm on my iPhone right now. And so I need about a couple of minutes, and someone could go before me. That's in next in the queue. That'd be great.

Okay. Well, Lucy, would you like to jump in.

Sure. Thank you. Hi, everybody. My name is Lucy Boyd-Wilson Wilson. I'm here in San Diego. I create animated works, and I like to create for immersive, immersive mediums like virtual reality and dome planetarium display. So I'm going to show a couple of couple of little trailers. But yeah, immersion is important to me. I really enjoy playing with that. I like to create pieces that completely surround the viewer. And I'm always expressing our environment, that we belong to our environment. We belong to our earth, our landscapes. And by really creating A fully encompassing environment. That's a feeling. Immersion is a feeling. It has a different type of impact on how one perceives it when it's fully around you. It affects your balance and sense of presence. So that's why I like to use those mediums.

Lucy Boyd-Wilson

I created a first dome piece a couple of years ago, and it's been around sort of dome film festival circuits. The last one it was in was a in Montreal, which has a fabulous dome. That festival is called sat fest. The sat societators are technologic and their dome goes all the way down to the ground, which is different from a dome that hovers over like a planetarium. So that's even more immersive. And I'll just play the 30 s trailer for that piece.

Lucy Boyd-Wilson

Let me share my screen.

Lucy Boyd-Wilson

I'm not getting the check box to share audio. Oh, okay, I see it sure sounds.

Lucy Boyd-Wilson

Alright. This piece is called Earth Tree Sky. 30 s trailer for a 6 min piece.

Lucy Boyd-Wilson

A. And as you saw, the music is by Barry Lockwood, who's also based here in San Diego. That is done in a full dome format, which means it's the full, round display that covers a dome. So center of that circle is right above you. And everything around the edges is all around you. And this next piece is called root. Rise. It's going to be it says 7 and a half minute piece, and this is a 2 min short version for it. It's going to be showing at a gallery called Fares PHES.

Lucy Boyd-Wilson

Which is the initials for Paul Henry and Ellen spirits. Their gallery in Carlsbad, in San Diego, opening an april fourteenth will be on for 2 months, and the theme for their show is roots. So this is not immersive. But this will be a video playing. And I want to say that the music is the is a track from a an album called Convergence by Debra, Martin, Greg, Plant and Mark round, and the music is really very, very beautiful, and this is just again 2 min of their full piece, which is 7 and a half minutes, and the full animation, will is 7 and a half minutes. This is a shortened version.

Lucy Boyd-Wilson

Oh. A E.

Lucy Boyd-Wilson

A. A.

Lucy Boyd-Wilson

Oh. A. E.

Lucy Boyd-Wilson

E O. A. Oh.

Lucy Boyd-Wilson

Oh.

Lucy Boyd-Wilson

So yeah, I just love the idea! I mean that the music is just so beautiful, and gives us permission to slow down to the rhythm to meet our lands and our landscapes. And that's what I try to express. But thank you.

Thank you, Lucy. Beautiful work! Awesome. So we have. Next up is Susan Detroy. Who at this point is looking like our last presenter. Unless someone else would like to jump in afterwards. Okay. Alright great. So Cynthia DiDonato just message me. She will.

So Lee raised his hand. Hope.

And Lee too. Okay, cool. Alright. So Susan, you wanna take it away.

Yeah, sure. Thank you. I wanted to share current pieces that I am creating and Submitting for a couple different Applications. And to let to let people know in general that I generate my work on an iPhone. I generate the clips mostly, and then I edit on an iPad. And I'm just beginning to use my desktop computer a little bit to generate some AI work. But mainly it's iPhone and iPad and the pieces I'm going to show. Are. I'm going to show some trailers and one longer piece that were submitted to the Mina Film Festival, and Cynthia DiDonato also. And I don't know if anybody else submitted. And I am currently writing once again to the Lane Arts Council, which is the. County arts group. It's not called counseling right, anyway. Arts organization. For I'm asking for equipment this year because I want in the town. I live in most of the places don't have equipment to show film unbelievably. But so I'm asking for equipment so that I can show film locally and also organized festival. So I'm gonna share my content.

Susan Detroy

Okay. And. So this is I use I photo that. Well, it's not called Iphota. But the these are a few trailers. I'm gonna show some trailers, first on this film. Oh, hold on a second. I'm in.

Susan Detroy

Television. So I could watch people's. But this will work better. Okay. A.

Susan Detroy

A.

Susan Detroy

Are you hearing this sound? Okay, I'm hoping you are.

Susan Detroy

Yep, we got.

The audio.

A.

Susan Detroy

So the first film that I showed the corona diaries film was started in maybe 2020 when I was recording and making a documentary about lockdown. I did a I think it was 40 day, 40 min documentary that was commissioned, and I also generated a number of pieces. That I called chrome diaries, and I have expanded those for that first piece I showed. The second piece is from my planetary. Sisters. Work I did with AI Wambo AI! Generating faces as is this one.

Susan Detroy

And I call those persona Planetary sisters. This is the second one.

So 1 min.

Okay. A. Okay.

Susan Detroy

I'm back.

Right!

Okay. Thank you.

Great thanks so much. Susan.

Welcome!

Alright. So next up is Cynthia di Denado.

Hello, everyone! I'm Cynthia from North Providence, Rhode Island in the Us. And I'm thrilled to be part of the salon, as always. Let me share.

Cynthia DiDonato

I assume you can see my collection here this album. Yes. Yep, great. I'm very interested in both painting digitally and manipulating that painting and also taking older works that I have that are analog works and working with them. I'm fascinated by metamorphosis and believe it or not, these pieces are related. I'll start with this one this is just a simple painting that I had done, and through manipulation in a variety of apps that I use in connection with the iPad pro I was able to come up with these very different pieces. In fact, there's a whole series of just this turquoise and orange.

Cynthia DiDonato

But I'm just showing you a few of them. Eventually I took all the pieces that were the turquoise and orange pieces and married them together in one large piece. And from there I continued the journey of manipulation. Here, you see, I'm attempting to break waters. Many thanks to the Co. Working group that I am leading with Cynthia Beth Rubin on Tuesdays cynthia inspired me to play with breaking borders with my work. And so that was one of the pieces that came about as a result of that inspiration. Here's another that came about again. This is a photograph of rust that I really enjoyed seeing, and began to manipulate it again, breaking borders here that same rust was again manipulated, and I was able to bring in some wonderful turquoise and break some borders. Here is a very different photograph. This is from a botanical center, and it was a plant that I absolutely love.

Cynthia DiDonato

And I was able again, through manipulation, to come up with this piece. Here's an example of how I like to work with my analog work this. These are some collages that I had created probably about 7, 8 years ago, and I decided to take them into a program and put them together as one image, and then from there I continued to play with that image. Here I am again breaking the border. I'm a big fan of warping shapes. So that's something I see repeatedly in my work.

Cynthia DiDonato

And again, this is the same original piece that you see here that became this, but also I was able to make this out of it, and from here I began to create other shapes. And then the warping began again and again, this image. It was birth From the piece before, and it just continues.

Cynthia DiDonato

And eventually. You see this. I would certainly like to invite everyone who's interested in working with us on Tuesdays at 12 to 1 30 Eastern Standard time. And in Co. Working Cynthia, Beth, Rubin and I lead the group we talk. We work for about an hour. We talk about first what we plan to do, then we work, and then, after an hour is over, we share, and we have a very what I would call gentle critique. So please join us. Should that be something you'd like to do.

Yeah. Thanks. Yeah. I just have to say that group has been so wonderful. And it's Eastern daylight time, by the way, but.

Thank you for the correction.

We all forget. Yeah, it's really, if enough people are interested. We were open to trying a different time, because some people said they couldn't do it at that hour. But it's really right now. The group is amazing. So, thanks, Cynthia, your work is amazing.

Thank you.

Yeah, thanks to both of you. I just pasted a link to register for the Co. Working in the chat. You could also get to it from the Techspressionism, homepage. If you scroll down a bit, there's a section text question is virtual Co working with a link to register for the zoom. And that also is, you know, open to anyone who'd like to join. So I really appreciate Cynthia and Cynthia, for, you know, spearheading this kind of group working session. I think it's really cool. And it seems like, you know, some of the participants have really gotten to know each other and know each other's work over the course of the you know kind of this collaborative project, or just kind of having that time to create together. So really interesting idea.

Colin Goldberg

Alright. So next up we have Lee Musgrave.

Thank you. I'm not going to show you any of my work. I wanted to talk to you about an exhibit that I've been asked to curate and organize. That will occur in either September or October. I have a venue, is a very upscale venue. They've been very generous in providing me several different dates to select from.

Lee Musgrave

The first thing we had to decide on is what the exhibit was going to be about and what it was going to be titled they asked me to do this because of my involvement with expressionism and. Computer art. And so that was agreed upon first, then the title that we came up with was Perceptivity Colon tech art. Now. There was lots of discussion about the word expressionism. A lot of the people at the venue felt it was too long and required too much explanation. So I just took the last part of it off and left tech there, and they all went good.

Lee Musgrave

One of the things that you a lot of you, I sure haven't had the experience of organizing exhibits. And you have to really get used to compromise and be generous in listening to their concerns because it is their venue. For example. They don't want any nfts. They don't want anything related to nfts to them. That's a political topic that they don't want to be associated with. They don't want any videos. When I questioned that one, the response was, we do not want the display to look like a casino.

Lee Musgrave

I love these answers. They're just one. It's wonderful. I wish I could tape these kind of things, cause I think there would be a great learning experience for people. So, in other words, there's no sense in me trying to Convince them all they have to do is say, no, we've decided we don't want to work with you. Goodbye. It's their venue, and we're gonna meet their interests. And not upset them in any way. Now that said The exhibit is in Los Angeles. But. The prep. Area will be in Burbank.

Lee Musgrave

I've arranged to have a very secure prep. Area where all the work will be gathered together and then delivered to the venue and install, got a great crew to install the exhibit. And got a great Pr marketing group associated with this venue. All of those things are excellent. The hard thing to get used to is that it's a 3 day exhibit Friday, Saturday and Sunday. I know a lot of artists are not used to that kind of thing. It's done a great deal in Los Angeles.

Lee Musgrave

These upscale venues. I don't want like to bring these people in. For a weekend and have them experience something new and exciting and. As tight as I've controlled this information. It's already leaking out, and I knew that it would. And I've gotten some wonderful responses from the entertainment industry already. How can we help? What can we do all this kind of stuff? So even though it's only 3 days long. I think we'll have a tremendous turnout during those 3 days.

Lee Musgrave

And it could be a lot of spin offs From that.

Lee Musgrave

What else can I tell you.

1 min, Lee!

There's a 300 pound limit. Nothing can be over 300 pounds heavy. That's because the crew, the installation clue crew, don't wanna handle anything heavier than that. When I know the when I finally Finalize the date, I'll put this up on the expressionism site so that you can see the venue and the dates. So you would have some expenses in Shipping The work to me. And its return if it doesn't sell. But other than that all the other expenses are being paid for. In fact, the venue is hoping to get a couple of sponsors. The 2 they mentioned to me are international level sponsors.

Lee Musgrave

It may come in. That would be fantastic. Any questions like.

That's timely. So yeah. Is there anybody else and thank you for sharing that. By the way, is there anyone else who would like to share what they're working on? Dean.

Share screen.

Deann Stein Hasinoff

Okay? So I'm gonna share A few sessions of our Techspressionism, co-working group. So typically I find that because I don't really have a series topic that I'm working on, that I'm kind of all over the place in terms of what I do with my work. So when we do the share, I often try to include sort of process, photos or images. So it was. I was playing around in Procreate, trying to find some brushes that I like that, mimicked another app that I don't get to use as much anymore, because they keep changing it, which I find frustrating.

Deann Stein Hasinoff

And then I took some of it into eye. Colorado, and then back into propriet again. And then moved into what I decided was the final image for this particular work.

Deann Stein Hasinoff

And then I've also been working with photographing either natural elements or fabric, or something else. And these are my. This is my very high tech photography studio in my spare bedroom. Or we. And then I found some material that I decided I wanted to manipulate. And then what I do after that is, I start to work with it in photo editing or like Colorado.

Deann Stein Hasinoff

And then finally. E in the theme of working with natural materials. I was creating some sort of like mobiles out of Dead things that I found outside. I've been kind of scavenging in my neighbor's yards, getting plants to use and then Manipulating that once again, when more of a full editing of an I totally know.

And you have one.

Finally sorry, 1 min.

That's 1 min. Yep.

Okay? And then finally,. Mixing the idea of materials with photography and using, I call Rama I've been sort of combining those 2 together to try and create some Variation on a landscape. So I have to say that the Co working group has been a big help in terms of helping me sort of expand my tool gift I would call offer creating art and giving me lots of ideas in terms of how to push my work or taken into direction. And it's been it's really one. It's really one of the highlights of my week when I get to meet up with me.

Awesome. Thanks. So much. Really interesting. Especially the physical material that you're manipulating. It really feels digital. So it's really interesting to see that it's actually physical sort of Fabric and other things. So let's see, I got a message from Cynthia Beth Rubin that I think she is going to be okay with sharing her presentation during the recording which is great. So, Cynthia, take it away.

Okay,. Let's see, I is this sharing, working? Yep. Okay, great. So, this is, I'm just gonna go really fast through this stuff. My goodness, I'm sorry I must be sharing the wrong thing because it's timed so, and I need the one that's not timed. Unless we just do it this way. Do you guys mind if I just do it this way? And you see my things over on the side. Is that okay?

So problem.

Sure.

Oops. We have a time. So this is the excerpts from what we're doing tomorrow. And I have to do the thank you. Of all the people. It's really important because of the funding of the sources. And you notice that I included Techspressionist Virtual Co. Working as my biggest. Thank you. Really, and many people have asked me about data wrapper, which is a free online did visualization. So this is Andrea, who's the scientist collaborator on this project. And I've been working with her data.

Cynthia Beth Rubin

Which is remapped here in a way. I actually took it into data wrapper to get these forms, and I remapped it. So she's working with visual sampling the Narragansett Bay and looking at different Factors in the Bay. And this fits into the idea of space because of things that we don't see, that contribute to our environment as well as what we see. And I rearranged what I'm talking about tomorrow to show this to you now, so that you would understand that I'm taking this kind of data and turning it into a visual that has that lures people into the visual. And this particular one was really hard because of the overlapping of the nitrates and the phosphates. So I couldn't do a street. Kind of image of it. And this is what I've been coming up with. So it's got a. It's treating the data forms as if they are artwork. I'm just artistic forms. I'm moving them around. I'm thinking them as abstract forms, so that I can kind of bring people backwards into understanding the space for scientists. They look at this and they see it right away as a graph. But for most of us I think we see it as artwork first, and it's got the plankton in. It's got a feeling of the environment. If you look very closely, it has the month. She's she sampled through the year February to February. So the heat rises in the center of it. In the summer, and that's the one element that I think people when they look at it. They understand that. In fact, this is the map, the heat map that I started with. So this is pretty understandable. And I had took it in and did this year long overlapping of the elements. Using actual salt that I digitize myself looking under the microscope as the texture. This one was really can't say easy, but easier to do, because chlorophyll that's in the front. Doesn't overlap with the other factors. Salinity the salt in the back. The amounts that they have. I could show them rising without a complicated overlap.

Cynthia Beth Rubin

So this is one that has a chart in it. And here's one that doesn't I'm gonna just hit the place so you can see it full screen. So in this one there's not a sense that it came from A chart. But it's there. It's luring people in. And it's creating a different understanding of our space.

1 min, Cynthia.

Okay. So I'm still doing these kind of abstract working with the Diatoms in various collages. And you can see here, that's my recent work over on the left, which the Co. Working people have seen. And it really the 2 ways of working feed each other. It's been amazing for me to do both of them and to get the feedback From the Co working group. So that's basically it. So. I think. Okay, I'm gonna stop my share and so maybe I can go back. Did I? Did I get to show this one full screen by itself? Okay.

Cynthia Beth Rubin

I love this one. So okay. Pleasant.

Awesome, awesome. Thank you so much. Cynthia, really, glad you're able to share that. And looks like that's all the artists. I actually did want to invite either Joey and or Carrie, and just to give a little bit of an introduction to the collaborative exhibition that they're organizing. Just so everyone here has an idea about it. It's an international open call. It's happening now. And it'll also be, you know, recorded for the YouTube, channel. So that way, if there is viewers that are interested in submitting work, they could also find out how to do so, and what the show is all about.

Colin Goldberg

To you guys who wants to go.

I'll jump in. Thank you so much. It's really lovely to see everyone's work. And yeah, we have an open call right now, we're doing a collaboration with our museum, the Museum of Wild and New Fangled Art, which is an online museum working in Web 3 and beyond. And we're hosting the exhibit on our site, and also in the metaverse in the loop manor room which is in the shape of a dome so we're doing an open call. You can submit your work, and we'll have a jury look at it and make selections, and then some of the work will be minted onto the blockchains ethereum and tesos, and we'll be having a drop on the opening day in conjunction with the salon that's happening, which is, I think it's like November fourth, or around that time. Joey, what's the date that October.

October third will be.

Badge.

That's yeah.

Is the opening and our submissions. There's a form that we put the link to the form for submission in the chat. And it's also been emailed out by Colin. And yeah, if you have any questions for us, do feel free to reach out. And we look forward to seeing your work and to selling it and getting it sold and getting you some money for it, cause that's our main mission is to support artists and pay them for their work.

Awesome, awesome. Well, it's very exciting, you know, to collaborate. And yeah, I encourage anyone who's interested to submit. So I guess now we could open it up. We have about 10 min left 12 min. Well, actually, probably more like 15, because we usually start 5 min late to you know. Open it up to questions for any of the artists. Who presented so if you have any questions feel free to just either raise your hand with the raise hand tool or just jump on in. And Yeah.

Colin Goldberg

Susan.

It's not a question so much as a comment. I just wanted to. Say how much. I've appreciated being in the Co working group. I want to give it sort of testimonial because it has.

Susan Detroy

It's allowed me to get to know the people in the that are part of Techspressionism and in the salon in a deeper way to understand their work. And it has influenced my own work. And I noticed this because, as I was writing out the summary and information for a grant that I'm up Applying for I realized how important the international groups I'm part of and how influential they have been in my work over the past 3, 4 years, and I just wanted to say that as A kudos to Cynthia and Cynthia for starting the group. And how helpful has been to me as a digital artist and influential. Thank you.

Awesome. Thanks, Cynthia. Susan, rather getting confused. There's a lot of Cynthia DiDonato Carrie. And did you have something or Okay? I saw your. The virtual hand is raised. I did actually have something I wanted to just mention to the group. So I live about half an hour from Mass Moca, which is the Massachusetts Museum of Contemporary art, and they actually have a Residency program. That I think I'm probably going to be applying for. And I encourage all of you guys if you're interested to apply it. Applications are gonna open up next week, I believe, on the eighth and I know Anne Spalter had participated in this Residency program, she said. She really enjoyed it. There is sort of a sliding scale. So. You know, it could be fully a full Residency ship depending on income or whatever. But you know, it's for people who either, like I, you know, live nearby. But there are also Accommodations there. So and if any you guys are able to visit that museum, it's really incredible. It's inside of a giant sort of industrial building and just an amazing space. So, so yeah, just wanted to put that out there.

Colin Goldberg

Alright. Anybody else? Yeah.

I actually got a message on Facebook messenger from Nicola. He wanted to join he can't join unless he has funds to go to an Internet cafe. So that is something that we can kind of talk about privately at some point or a Co working space there. The Internet cafes have been turned into Co working spaces. But he did want me to let people know that the French Wikipedia on the group is still up. And I don't know if it's just he. He just asked me to announce that, and he said if he had been able to come, he would have talked about it more.

Cynthia Beth Rubin

So.

Thanks. Yeah, thanks for sharing that, Cynthia. And for those of you who don't know Nicolo is member of the group. From Cameroon. He actually helped establish a Wikipedia page for The community which has recently been removed from Wikipedia. Much to my chagrin and that of many of the other artists involved. With the rationale that there's no sourcing to prove that we're actually a style or movement which, I mean, my feeling is that we're defined as an artistic approach. So I guess they're right. We're neither one of those things. And Helen Harrison actually made a made a point of saying, we are not a style or text. Expressionism should not be defined as a style. Because of the limitations of a definition like that. And I thought that was a very wise you know, thing that she brought up, and that was in our very first salon back in 2020. And so she helped Establish the definition. For those you that don't know Helen is an art historian and critic. She was the director of the Pollock-Krasner House and Study Center in East Hampton for many, many years, and also the head curator of the Parish Art Museum, which was in South Hampton and Guild Hall, which is still currently in East Hampton. She's written numerous articles for the New York Times as an art critic, and published a monograph of Jackson Pollock several years ago, as well as work on Larry Rivers and a lot of the other abstract expressionists of that era. So it's a really amazing to have her as an advocate. She's, you know, been a very Generous group advisor in terms of, you know, contributing her time and an essay for the catalog for the Techspressionism, digital Mp. On exhibition. So even though She's not here right now. I would like to give a shout out to Helen. She recently retired from the Pollock-Krasner house, and she was instrumental in establishing that as a historical landmark. And that's the former home and studio of Jackson Pollock and Lee Krasner.

Colin Goldberg

So yeah, I just wanted to give Helen a shout out. And you know. Wikipedia don't really have very much to say about that other than it made me kind of realize that the thing that's important to me about the group at this point really is this, it's like the community. What we're all doing as individual artists and kind of the interconnections. And you know, it's a work in progress. So yeah, I value, you know the participation of everyone in the group, and especially you know Cynthia and Cynthia for organizing this Co working sort of ongoing piece, because I think that you know.

Colin Goldberg

The more Kinda ongoing activities that the group has, the community has. You know, the more that it can grow and sort of really Solidify, you know. I don't know. I think that's what makes it special and different. So. Anyhow.

And can I.

Yeah, that's the kind of kind of discussion that I was involved in with. And. The term digital art kept coming up with these people. They seem to feel they have a certain understanding of what the term digital art means. And when you say tech art. Especially in Los Angeles. Yeah, most of these people are old enough to remember art and technology. That was a big movement in the seventies in Los Angeles. And so they sort of accept that their biggest concern was. And I think you've heard me say this here. You've you've heard me express my frustration on this before.

Lee Musgrave

The more you have these common kind of conversations. The further you get away from the artwork. It's just like they didn't want to talk about nfts, not because they don't believe in them. They don't want to have discussions, turn into arguments in the middle of the gallery while people are looking at the artwork. You can't argue with that. I've been in social settings, not in Dallas. Just regular social settings and seeing 2 guys square off about nfts, you know it's not worth wasting. The energy.

Lee Musgrave

Most important thing is to show them the artwork and get them to appreciate the artwork as art. And don't worry about who labels, what will all be dead by the time there's a real label. Thus, it's not important. The important thing is to get venues to be willing to exhibit the artwork and encourage people to come and look at it and talk about it.

I agree? Yeah. So we have about 5 min left. Sherry.

Oh, first up, thank all of the artists. I'm always blown away by the imagination and innovativeness of all the wonderful work that you show today and always. So thank you for that. And then my question is for Lee. So are you saying that we can enter this show that you're talking about in LA. Or are you going to be looking for Arc? And is it in any way a sale venue or just an exhibition venue.

Yes, it will be selling artwork through the Venues. Selling. Permit. Yes, I will be looking at any artist who wants to show me work. I will put all this information up on the website as soon as I finalize it. And that's gonna be pretty soon I'm narrowing it down. I think it's going to occur in September instead of October. Like, I said. They gave me 6 different week weekends to choose from. And I've been looking at all the other things that are going on in La at that time, and I'll once I get that zeroed in, I'll put the information up there.

Lee Musgrave

And yes, it's about selling. I've already had some of the people in the entertainment industry already asked me that question. Can I come and buy something off the wall. Yes, you can.

Okay, well, thank you. Cause I'm in California. So I'm definitely interested. Thank you.

It.

Awesome. So, Sahar, I see you have your hand up.

Hi, everyone. Yes, I have a question about Mona open call should we? Just upload our artworks, or we can send at the same time send a link of our minted artwork on objects or other platforms.

Yeah. So we accept our priority is the art first. So it's an exhibition of art. Sometimes that work is already minted onto a blockchain. So we accept just a link to where the artwork has been minted. If it hasn't been, we accept either an uploaded file so that we can exhibit it in our museum, or if it's a larger file, we also accept the link as long as there's somebody that we can download the file so that we can exhibit it. And also not everyone that is going to be in the exhibition wants to mid the work. Some people want to sell, and some people don't. So either is fine as long as it's art.

joey zaza

And we accept all mediums in all media casinos as well. And video and nft and everything. So we're happy to. We're happy to see it.

Thanks.

Awesome. Very cool. Good to know. That was actually something that I was wondering as well about whether work that's already been minted could be submitted. So that's really good to know. And you know, I think what Lee's doing, and this collaboration with Mona. It's, you know, it's an important part of this sort of whole project is Collaborations and initiatives by individual artists. That might be curatorial, you know. The more sort of decentralized you know, the activities of the community can be the better. And that and you know the longer that this goes on, and this is something that Patrick Lichty had kind of emphasized many times, and also. You know. Well, I think just in general. With the group. This idea of community, and that being kind of like a central way of talking about Techspressionism, you know, I think that's something that it's difficult to argue with, you know.

Colin Goldberg

When we did the Round Table discussion with Christiane Paul from the Whitney and Helen Harrison. That was the one thing that Christian sort of you know. Brought up as important. She'd said one thing that she liked about Techspressionism is that it can transcend boundaries, and it fulfills an important function. If there's artists aligning themselves with the terms. So I think that's you know. I think that's something that people had said to me is that it put a name to what they were already doing, you know, and that's I think.

Colin Goldberg

Important, you know. And a bunch of people had said that to me early on was that you know, it describes something that they were already doing. And I think that's the case. In. In many instances, I know for myself, you know, I never completely felt my work was necessarily Fitting in with the term digital art, because to me that also encompasses video, game. Development and commercial animation for studios like Pixar. Certainly within academia. Digital art tracks. You know, are moving students.

Colin Goldberg

Largely in those directions, because people have to make a living and there's no shame in that. Certainly, that allows people to really get their chops in the software. So but I think you know what we're doing in terms of The development of our own personal work that has meaning and discussion of it. What it's about, not only how is it done? I think, is what keeps the discourse really interesting. So yeah, we're getting up to about time.

Colin Goldberg

And I'd like to thank all the artists for coming and participating, sharing your work. And what we will do after the recording stops is we have kind of a tradition of a an after party which is basically whoever wants to hang out after the recording stops. It's generally when we discuss the topic for the next salon, which I think Roz brought up some ideas for early on before we start started the recording. So if you guys are interested in that discussion, feel free to stick around and you know the way that this group generally works. So the community generally works is that's a time where people can talk about The direction that things are heading in or you know, collaborative exhibitions, things of that nature that might fall outside of the scope of sharing our artwork, which is really the focus of these salons. So Without further ado. I am going to stop the recording and it will be available. Shortly on YouTube. So we will stop the recording in 3 to one and.