Salon 86 // Hello Brooklyn

Hello and welcome to the 86th Expressionist Salon. We are coming to you today from two locales. Tommy Mintz, the chief curator of the exhibition Hello Brooklyn, will be joining us from the Kingsborough Art Museum in Brooklyn, New York with his class. It's the first day of classes today for Kingsborough College. And I am Renata Janiszewska coming to you from Lion's Head in Canada.

Renata Janiszewska // Lion's Head Canada

Tommy curated the show Hello Brooklyn and it has about 90 artists all together from all parts of the globe. And we have half a dozen artists here with us today who are going to be joining us today. They are going to speak about the works that they have in the exhibition. And then we're going to turn it over to Tommy live at the museum. So without further ado, I'd like to introduce

Victor Acevedo, who's in Los Angeles. Los Angeles, yeah. And Victor Acevedo. Sorry, Acevedo, I was practicing beforehand, but I was nervous. Oh, sorry. No problem. I can relate. Yeah, it's great. I'm so as I was saying earlier off camera, it's really exciting to be part of this is like from afar watching it via social media. This has been further exciting to have a window into the proceedings and the installation looked really great.

Victor Acevedo

And so, yeah, I put together a little PowerPoint or keynote to talk about my piece. I have two pieces in the show. And then my book was in the vitrine, which I found out. But later, anyway, let me see if I can share screen and Yeah, OK. So you guys can see this. Mm hmm. OK. OK. Give me a moment. Yeah, the controls have moved, haven't they?

Victor Acevedo

Yeah. So I'm going to go ahead and get my cursor. I'm pausing because I'm trying to find my cursor to say OK to this. That's really annoying. Oops. OK. Are you seeing the. I'm going to stop sharing screen if I can. Too bad I didn't practice this tech. But my cursor has disappeared. We're seeing images. Yeah. Victor. OK, we'll have to do it. Do you see the on the right band of the windows of the participants or no? You just see the image.

Victor Acevedo

We see the participants as well. At least. Yeah. And then I'm seeing this meeting is being transcribed. I want to say OK to that. I'm just seeing the images I have. It may be because I have two monitors, but I'm seeing it perfectly. Yeah. OK. I'll just proceed then. It's really. I think. Well, let me do this. Well, I don't know if see it without. I can't even stop share with the non-fiction. I'm not seeing my cursor.

Victor Acevedo

See if I move around a little bit. I suggest I'm in speaker view as what's highlighted. And I think that's what's letting me see the full image being in speaker view while you're sharing. OK. OK. I mean, view the speaker, not your speaker view on keynote. I meant in my gallery. It's featuring the speaker. Yeah. OK. Yeah, this is less than optimum. But I'll proceed in the interest of time. I literally cannot find my cursor.

Victor Acevedo

And what I'd like to do is stop sharing and come back and move the thing. But OK. So bear with me on this less than optimum display. So this is the piece I had in the show. NYC 83, 85. And it's from about. 31 years ago is when I made it actually 1993. But it's named after. Two visits to New York. I'm I look. I was living in Los Angeles then I grew up in Los Angeles. So I went there in 83 and 85 and I had friends in the East Village.

Victor Acevedo

And this is based on a snapshot of a party in an East Village apartment. And many of you have seen this before, because actually this is a. Kind of a. Revisitation of the piece, if you will, from a previous expressionist show where I showed it in a virtual gallery. And I when I was corresponding with Tommy, I gave him like two or three options like which one of these would you like to show in the Hello Brooklyn show? And he chose this one. So I thought, oh, great. It's great. It's one of my favorites from back in the day as well. So.

Victor Acevedo

So here's some details of the image. It's cut. There's a lot going on in it. So I thought it'd be fun to look at some details. And. Here's another part of it. It's all happening in a room. I believe it was like a kitchen. And. But a lot's going on within that small space. So this is where it looked like it on the wall in the show. And this is part of that. Like really seeing it. The home in the house. So I'm one of the two on the left. And I'm just right there.

Victor Acevedo

And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable. And I'm just going to say the name lable.

Victor Acevedo

And so this is obscured by this band going across. This is how this piece appears in my book, Acevedo in Context, which is in the vitrine. And I'll leave this up on the screen for a while, like someone's watching this later could read this. And this is something I wrote about the piece and some background around it. And actually, when I did present at the first time this was shown in, I think, the Kunst Gallery, I read some of this, but I just wanted to, I won't read it right now at the moment, but I just wanted to make it available for the record here.

Victor Acevedo

And then these are the piece in progress. And I only have access to a few of these sort of in progress stills, but you could see how I'm building up this sort of geometrical component of the piece. And then I started sort of testing out renders. And this is the first time I used actually a Mac-based 3D renderer. I think it was called Strata 3D. And that was kind of fun. And I started sort of working on the far right. You see sort of pyramidal triangular forms, a cluster of them. They're like the introduction of sort of a gray palette that I later kind of explored more deeply.

Victor Acevedo

And then there's more detail. And I like sort of the, on what I call the protagonist's head on the left here, you see some of these experimentations, sort of a sort of metaphysical psychedelia of a graphical metaphor for sort of brain processes in normal and altered states, if you will. So once again, here's the piece in situ. And I thought this was an interesting synchronicity. I think it might've been just by accident, but just as I was saying before, just to the right, is Sherry Karver's piece. And it's great to see that she's here. And that's a glitch piece as I remember it. So if you look here in my book, interestingly enough, that piece just by synchronous event, her glitch piece was in a show at the Los Angeles Center for Digital Art in, I believe in, look at the date, 2019 approximately.

Victor Acevedo

Sherry may know better. And then, detail of my piece NYC 8385 was used for this poster in this other show that was happening in the large gallery in another part was like a three gallery building in simultaneous openings. So just by chance, these two images are paired across time across years to some degree and sort of wrapping this up.

Victor Acevedo

I was honored to have this same piece be acquired by the ENSP and Michael Spalter collection, approximately 2005, 2007, many years ago. And there it is. I'm trying to point with my cursor there in the bottom center. And there's a detail of it. And then this is how it appears in the Spalter digital collection page.

Victor Acevedo

And I'm honored, sadly obscured by the band here of Zoom windows is Vera Molnar, just to the right of it. She's also in the collection. Victor Vasarely is there. So I have three pieces there. So anyway, just to continue real fast and probably using up my time. Another piece that I had in the show was on the video reel, which is also a reprise from, this is from the Techspressionism Southampton show. At that time, it was only on the reel. And this is called Red Shadow. And I thought it was great that it was being documented as a YouTube reel. So that's what that looks like. If you want to, those who want to go back and see it. And then there's some stills from that video like that. So in a short span of time, it covers a lot of ground, be it there's a narrative that one could string through the event.

Victor Acevedo

Now my cursor's come back. Now that I'm done. Okay, hold on. Thank you, Victor. Yeah. So yeah, I stopped. I don't know if I stopped sharing. But I'll stop sharing now. Okay, well, are we back? Yes. Thank you very much. Yeah, sorry about that. Maybe, you know, for the record, I'll send you a new version of that without the, you know, just the unimpaired images. I don't know, just food for thought. But thanks so much. Really great to be here with you all. And I see Sherry right below me in the window. So there's something I think we're star linked, so to speak. So anyway. Thank you. Thank you. I love your work. And I'm so happy that we're hanging together. Oh, yeah. Thank you. I love that piece, the glitch piece. It's fantastic. Thank you. And I love your work. So thanks for mentioning. Thank you.

Victor Acevedo

You're welcome. That was really great, Victor. Thank you. And I'm just looking Tommy Mintz appears to be setting up. And in the meantime, we have

A presentation of the work titled Garrett. By Roz Dimon coming from Shelter Island. Thanks for now. It's wonderful to see people like Victor here. I mean, I've been showing with Victor. I don't know, since way back in New York City. And I love the whole story of you and Sherry. I thought that was serendipitous. Really interesting. Your piece really holds up so well today. It's just mind blowing. Beautiful, beautiful work. Thank you. Okay. So I'm going to share. This work with you. Let me hit share.

Roz Dimon

Can everybody see a screen of the show? Yes. Great. Great. I just want to start with context. It's great that if you go to expressionism, they have all these installation shots. And I just wanted to point out the piece I'm talking about within context. And here it is. It's called Garrett. The subtitle being why can't you just stand down? And. Before. I show you a little video that goes inside someone.

Roz Dimon

Reacting to this piece. I wanted to just read real quickly something again on the expressionism site. By Helen Harrison. And. I like where she says she's talking about Jackson Pollock and well, and earlier Walter Benjamin and others. But she brings up the point that Jackson Pollock insisted that, you know, it doesn't make sense. It's not a great much difference how the pain is put on as long as something is being said. Technique is just a means of arriving at a statement. Now, I think this group, we could talk about that forever because honestly, process matters so much. But for my own work, especially this piece.

Roz Dimon

Titled Garrett. I'm going to just minimize this right now. I'm going to show someone interacting with the piece at the show. But this piece for those, some of you are familiar with it, but it's. It's a, I call it a diamond scape. It's an image composed of images and multi images. It's almost a place where art meets documentary.

Roz Dimon

And that it's an audio visual of going inside a painting. And I've done several other, quite a few other diamond scapes. One's in the nine 11 Memorial museum. One's at the children's museum out here. That I did with Latino kids, but this piece. Real quickly is about. It's a piece. It features my own family. I just done a series of digital drawings of guns. And let me say, I don't even own a gun.

Roz Dimon

But it's about my own cousin's son who was killed by gunfire. And it's an actual going inside the scene of that evening of what happened. And this piece really asks the questions. It doesn't have the answers. It deals with mental disabilities, which my cousin's son had. And I'm just going to show you a quick blip of someone going inside.

Roz Dimon

And then we'll talk about it later. We're looking at Garrett on the wall. And Barry Allen. Also in the show part of expressionism. Can you show us how this works? From the QR code. You went on the QR code and now it's on your phone. And then you can either watch it at its pace. Which it is doing slowly. Or you can slide it along. And go through.

Roz Dimon

The case. And it has audio. And visual. And it has a little information button on the right. Where if you want to look up all the sources for it. And go deep inside the painting. You can. And then you just close the X at the top. Yeah. I don't know if it's in there now. But yeah. You can do that. And I'm not sure how you get back. But that's the idea behind it. And close the information. You can take that sound button on the left. And turn it off or on. In case people are looking at this piece. And it's sort of like what you also said. You know. I'd like to lift up my painting. And show it to people. And that's what I'm doing with this. But it's not a video.

Roz Dimon

I'm always emphasizing to people that it is not a video. People see these works online sometime. And they think it's a video. But actually for me. Conceptually. You're going deep inside the Z space of math. In that death screen. That I think so many of us here. I mean the plethora of information that's going on in this flat screen. Is amazing to me. Just real quickly. I'll just take you through. I'm not going to go through the whole piece. Some of you have seen it. But you can go see it at. I can provide the URL. But you're going inside the evening. You're going inside this painting that ends here. But you're going inside every layer. And it's coming up to you full percent. 100%. Police act with a certain amount of immunity. I'm going to turn off the sound. There's an audio visual script of the evening.

Roz Dimon

With actual police transcripts. And the subtitle of the piece is really why can't you just stand down? And in terms of subject matter, I think it's relevancy to what's going on in our country. I mean, we just had a Georgia shooting literally within an hour of where this shooting took place where four people were killed by a 14 year old. So mental disabilities and gun violence and substance abuse, they're all interrelated. And yet I'm trying to make this a beautiful work of art at the same time that it is dealing with issues. I'm wearing an anti-assault weapon t-shirt that you can have if you want one. Just, I don't know if you can see my back, but it's hard to do this on Zoom. But it's one of my pieces that has an X through it. That's a Kalashnikov, which all the new AK-47, the AR-15s are based on.

Roz Dimon

One of the most important things in this piece is the, the information database. And it goes really into each image in the piece and says where I got it, where it comes from. I think that's so important in this new world we're in. And you can go even further in this case into all these videos, these photos, videos, audios, stuff from that evening, the Georgia Bureau of Investigation. This piece goes really, really deep.

Roz Dimon

And I was so pleased to be a part of the show. It was very exciting. And I still think that what we're doing here at Expressionism is really expressing what's going on in this world in a way that art, the importance of art in all of it. So thank you so much. It was great to be part of it. Thank you to Tommy, Colin, Renata, everybody who was part of it. And I was honored to be in this show and I'm really trying to help promote it. And if you have any thoughts about where to get Garrett out there, I would love to, hear from you.

Roz Dimon

Thank you very much, Roz. It was great to see your work at the show and to meet you in person. And I think it's amazing. I think I have a question for you though. Did you talk about Garrett at a little bit more length in another salon that we had? Yes, I did. I did. I actually had every, I played it autoplay. You can go inside it and go back and forth, but I, it's a very complicated code. I work with a 23 year old coder and we've never, he's in Chicago. We never met, but very close. But to your point, yes, I played it on autoplay and went through the whole story of three hours of that evening where his own father, Garrett's father, who's my cousin, gets on a 911 call and says, please don't, I know my child has problems. I know their guns. No one's been hurt. Please don't kill my son. I know what happens in these instances and what a sad thing to say, but he records himself.

Roz Dimon

He's a top technologist in education in Georgia, my cousin. And by the end of it, you're like right with him and his son is dead. And, and it's, and, and it doesn't say that anyone's necessarily not guilty here. You know, it's guns all over the place. His son had guns. He owns guns. I don't own any guns. And we want to talk about this because it's a problem. He lost his only child and he's a registered gun owner, but you know, and his child inherited his father's, grandfather's gun collection, 200 guns.

Roz Dimon

And it's been a fascinating journey for me, but I trust my cousin and he knows something's terribly wrong in this country. So we want to go on panels together and talk about this. And I love that it's coming through the sieve of a medium that can bring beauty and information to people. If you could drop into the chat, the number of the salon that you spoke about Garrett on, then people can go to YouTube and watch it if they want to. I have to make an announcement here. We're having some Zoom issues and I'm going to stop. We're going to stop in order that Colin can restart the recording. So Colin.

Roz Dimon

Okay. Now he says he can't turn his video back on. Oh dear, too bad. When we do get back on or at some point I'll drop in the URL that you can just go to it online and go through the piece. Okay. I'm just pausing here to give Colin a chance to restart the recording. He's having some issues with Zoom at his end.

Roz Dimon

And. Okay. I'm going to paste in the URL while we're waiting for those who can get it. Okay. Okay. Keeping in mind that you're look, the best way to experience this piece is to be looking at the actual physical piece on the wall and going inside it. But at least here you can go inside it and get the details. I'm just talking Renata since we're waiting. Waiting. Colin, are we okay now? Yeah, I think we're good. It looks like it never stopped. The recording it as soon as I relaunched it, it said installing updates. Now the interface on stuff. And so. Okay.

Roz Dimon

Okay. Okay. Our next

Artist is cari ann shim sham and she's coming to us from New York City. I just wanted to mention before she speaks that Carrie Ann and Joey are the two co-founders of the Mauna Museum and we're having an exhibition with them next month. I believe most of the expressionist artists who are in the exhibition received their acceptance letter.

cari ann shim sham

So I just wanted to remind you that we're going to have a party for the opening of Mauna X Expressionism at our next salon in October. And now I'll give it over to Carrie Ann. Thank you, Renata. Hello, everyone. It's such a pleasure to be here. And I want to thank Tommy, and the whole crew of you for this wonderful show where we all got to come together. Most of us got to meet each other sometimes for the first time. That was really wonderful and magical. So yeah. And for those of you that weren't there, I feel like you were there in spirit. So without further ado, I will share my screen.

cari ann shim sham

So I had three works in the show. The first work was called The Black and White Man Ray Version One. And I wanted to start with this image so that you can see the scale of the work, my body next to this body. This is a meditation on female gaze. And it is reworking Man Ray's white and black work from 1929.

cari ann shim sham

And that is really wonderful. And I wanted to start with this particular piece here. And this work is minted on the blockchain to the Tezos blockchain. And I took the original image in August of 2020. And I wanted to explore photographing the male naked body in nature. So this photo was taken at night. In a field on some land in New Hampshire.

cari ann shim sham

And I used a slide projector to light it. And took the photograph. And then two years later in 2022, I revisited the work. And started to interrogate it with the editing process. Which involved a lot of work. And a lot of layering, amalgamating, and dissecting of the body. And then adding additional layers of technology to create that etching effect.

cari ann shim sham

The second work in the exhibition is my film. It's Body Landscapes. And it's a work that I'm working on right now. And this film is coming from a generative art project that was launched in 2023 of December for the FX Hash 2.0 drop. And this work is from a dream that I had. And it is self-portraits of my emotional states. To process the experiences of my life. And the experiences of going through breast cancer during the pandemic.

cari ann shim sham

And so from this project came many iterations of the work. And there are gifs that are also minted on object on the Tezos blockchain. And this short film that is in the front of the exhibition reel if you'd like to see the work there. Finally, my... Sculpture that was in the show. This is Tomatillo. And Tomatillo is an inflatable sculpture. And I'm interested in working. I'm a dancer. And so I'm interested in creating performative inflatable sculpture as empathy generators. And so this particular sculpture is in the exhibition.

cari ann shim sham

And does not have any performative elements. So it's not a formative person inside. But for the opening event we did have the two other sculptures. And that would be Sparky and Pinky. The blue and the green. And they had people inside of them that were performing and moving the sculptures around. So we got to see them.

cari ann shim sham

They just recently performed on the Hudson. And kids really love them. And they're really healing to be inside of. The color that surrounds you is a color bath. And just being inside of a shape that's not square is very healing. And really exciting for as a performer. It's funny. You're always worried about your costume and what you look like. And in this scenario you get to be inside of this giant puppet. And it doesn't matter what you look like. And it's this really interesting shift in your becoming something else. So it's a really healing thing.

cari ann shim sham

And thank you so much. I'll stop my share. Thank you very much, Carrie-Anne. I was able to witness those sculptures in motion. And they really are very appealing and very you're drawn. I saw lots of people drawn looking into them trying to get inside. There's a fan inside, isn't there, to cool the performer down? Yeah.

cari ann shim sham

There's a very small fan. And that inflates the sculpture. I'm going to introduce Tommy who's standing inside the exhibition right now. Can you? Can you say something to us, Tommy, please?

Yes. Give me one second. Oh, one second. Sound issues here. He's got the iPad. And he's got a laptop. So I have to turn off one microphone or speaker to talk to you through a different one. I'm connected through this right here. Everybody is on display. If you look at yourself. You can see yourself in the grid there on our where our reel normally is looping. I have it live. And also you're looking at your presentations.

Tommy Mintz

And, yeah, the show has been looking great. Right? Today is the first day of classes. And it's a beautiful day on campus. So everybody seems to be outside. But we have visitors walking by and coming in. And, you know, campus is starting to come back. And, yeah, everything looks great. It's such a wonderful exhibit to welcome students back onto campus. We're all really happy with how the show looks.

Tommy Mintz

And I'm really thrilled that we're able to, you know, have you guys, if you have any comments or questions from students. I'm sorry. If they have any questions, I'll try to chime in and get your attention. But we've all just been wandering around and listening to conversations as, you know, they've been going. So this is really nice atmospheric beginning of the semester. I'm going to turn back on the big speaker so students can hear. I'm going to try to actually unmute the microphone on that. So we can have that be the source of the conversation. So we can have that be the source of both input and output on audio. Maybe I won't have feedback then. So give me a second. I'm going to mute here. Would you be able to just take a quick walk through the show or walk around the space before you switch cameras?

Tommy Mintz

Sure. Sure. Do you want it's funny. I feel like I'm saying hello to everybody that's at the show already. But I do realize there's a lot of people on that are in the show that didn't get a chance to be here in person. Now that I'm scrolling through. Hello, everybody. So, yeah, let me actually begin the tour outside.

Tommy Mintz

We have I think I might use Wi-Fi if I go beyond this. We have a view here where students come into the S building. Here's our campus and students are coming in and passing by. Here's our museum space. And I'm going to try to walk backwards without jumping into anybody. How is this for a tour guide? And this way we have the first wall of our exhibit. I'm really disoriented now. Which features work by Michael Pierre Price, Davonte Bradley, Colin Renata and Colin.

Tommy Mintz

And Renata and Colin's work are both enabled with our virtual Artivive to reveal this augmented reality layer that I can turn the volume up on this. That triggers a video playback of their augmented reality work. I'm sorry. Renata's and Colin's work over here. Both play through this iPad that we have for viewers to see work through. And then around the corner here from Colin and Renata we have Paul Miller and Oz Van Rosen. And it's like we have Meltdown Love. Colin, you're going to have to help me with some of these. I really am terrible at my hands. That's on the top that's Ply 300 from the UK. Thank you. Thank you. And that's is that Morris? That's Tycho Browner from Netherlands.

Tommy Mintz

Caro Ramonde right here next to Victor Acevedo print which is right next to Sherry Karver's. I'm sorry I'm tilting here. Sherry Karver's print. And you'll notice that we have a number of different media that we're printing on here. We have paper, canvas, the metal. You know, showing the range of media that I think we're all experimenting with as digital artists these days. It's nice to have this sort of view. I'm telling you, people are avoiding the camera. People are shy right now. It's the beginning of the semester. Everybody's just getting to know each other.

Tommy Mintz

Nothing to hide people like a camera. And I just did a photo class. So what do we have? Oh, and then we have Skojo right next to my hiding people again. Skojo and Vernita. You can see that? Up there right above Skojo. Verneda Lights. And you can see Deanne right there. And Roz all together with these kind of images that we were thinking were very much about that. That physical presence of the body being considered within our practices here. And we have a number of video screens up. So we have Roz that has this beautiful light box presentation of Garrett.

Tommy Mintz

And next to her, we have a three-panel. This is actually quite big. Three-panel monitor here. Featuring work by Susan Detroy, Lucy Boyd Wilson, and... Oh, my goodness. Carter... I can't think. What's Carter's last name? Thank you. Thank you. Thank you. Carter Hodgkin is on there as well. Thank you. It's been a long day already. We have Joseph Nechvatal over here. Also, we have this large piece by Clive Holden splitting this large display space diagonally. And it's a beautiful piece. We have a great panel here with his piece, An American Unfamous Brooklyn, which happens to be the second largest piece in the show after Sung Chin Lee's... Can I get this all in the frame? 13 foot by 13 foot digital analog painting on vinyl print. So, this is a surface that is a digital print that has been touched or dripped on with, like, eyedropper over and over and over to create this very digital analog interaction, which I think pairs or maybe converses with Carrie Ann's figure over here, which has that same...

Tommy Mintz

Digital... And then something else going on. I didn't realize that you had photographed a projection on somebody at Night in the Field. That's so cool. We have to talk about that. And above Carrie Ann, we have Layla Pinto. We have some more selections from our Expressionism Southampton show. Colin, help me with some of these names.

Tommy Mintz

Our international selection next to yeah it's Lucie Králíková yes yeah well it's Sahar on top right the black one then Lucie Králíková from Czech Republic thank you under that is Oleso Sani I believe yes and under that is oh geez Elio yeah Puerto Rican artists yes and then we have a print by Stephen Paré above work by we have Lee Musgrave actually and Christina in Ciarte Christina how do you pronounce your last name in Ciarte Lee and Christina's work also I feel like when I was curating the show I found really interesting conversations visual conversations that you know work seemed to have once I put it on the wall like Cynthia Di Nonato and I'm sorry are we looking at this right here yeah Paula all the Malofs and Cynthia Di Nonato's works here which have an interesting dialogue going on and then we also have Cynthia Beth Rubin's work next to them all of which really I think strongly work with color as a formative you know generative object if you will Mary Ann Strand-Hill and Del's lenticular image which I'm not sure if you're going to really see over zoom here I'm trying to give you a sense of the effect of the lenticular print changing as we walk past it and then okay see I'm really starting to lose my radio this is that Anne that's Anne Spalter that's Anne Spalter thank you Anne Spalter and Carter are together here in a once again as I'm curating the show I'm looking at people's work and seeing the forms that kind of play with one another on the wall and really enjoyed how those two works paired with one another Francene Levinson is underneath Roy Nicholson there and above Moritz Albrecht work here right once again we have the texture this thing about texture and this is you know you're going to get to go with the very much with Moritz and Cynthia, I'm sorry, Francine's work and Lee's work there.

Tommy Mintz

So then we got here, we have, can we see it still? We have to go further, here we go. A shot of Karen LaFleur's work is above, can we come in a little bit here? Two pieces by R. Gopakamor and, right, can you see this here? Trying to get in there, there we go. And a beautiful image by Judith Jacobs right here.

Tommy Mintz

Next to Guillermo, and this is once again a row of prints that are on metal that came from the Expressionism exhibit in Southampton. So we have our international exhibit here, which I've got to get away from the wall to show you the next piece, is next to one of our largest works, I've got a tilt again here, sorry, on the wall, which is by Patrick Lichty and Nijine Esteban.

Tommy Mintz

This is a, I don't know, I think it's a, there we go. A beautiful, this sort of holds the middle of the wall, and what I was thinking about when curating, by the way, is how to fit a lot of work into a wall without creating like a monolithic like, just wall of things that came off evenly and overwhelmingly. And so I was thinking about like the wave or some sort of pulse, if you will, and as you look around the room, hopefully it goes up and down and sort of, the taller pieces create these peaks, and then the lower pieces create valleys and a wave if you will. So Patrick and Nijine's piece is this peak, but also there's this sculpture, 3D printed sculpture that accompanies it, that's presented on a pedestal right in front. So it encourages people to come close and look at this tree. Is this the Tree of Life?

Tommy Mintz

The House of Hope is up there. And then we have, thinking about that, it's a little tree, and here we're really thinking about curatorially the landscape as an element. We have Steve Miller painting, or print, screen print and painting on digital print on canvas here next to Lee Schnaiberg and his digital photographic, glitching with his iPhone, brushing painting. And this is a tree. And Shapiro, Lee Day has, once again, an interpretation of a landscape over here is what we're thinking about, the landscape being interpreted by Techspressionists in a variety of ways, whether scientific, evocative, emotional over here as Meltdown Love has presented.

Tommy Mintz

This view up out of a bunker, basically, during a bomb. And this is a view of the! Of the show that way. I'm going to turn myself around here. And over here we have the Techspressionism wall. Techspressionists are, I think of maybe as like our local node, if you will, in New York of Techspressionism and digital analog exploration. We have Andrea De Felice's work here, which is a breathing pump that pumps air into this feathery bird form that lives in a little nest there. And here it breathes. You can see it breathing a little. Oops, where's my camera? Sorry. So that's breathing in and out as this accordion pumps air into it.

Tommy Mintz

So that's Andrea de Felice. We have a big wall here that was the site of a performance by Wamuu. Juan Alvarez has a musical that he's putting together using sort of glitch style, video game vocabulary. Nonsense that you get from TikTok culture, I guess. And around the side here we have more Digiana work. This is Momo's wearable sculpture that brings her digital self to the fore here. And then around this wall we have Rollemann Kolonowski's scans next to Sue Byers. I'm sorry, I'm tilting a lot here. Sue Byers installation that includes a fun little video of her trying to study or trying to work on her work and getting distracted by like the Sims. So she just generated her work in the Sims. She's funny. She's great. Sue, are you on right now? And I have a little piece here. This is an old, what are these?

Tommy Mintz

These old digital frames that used to be a thing that people would put pictures on. Anyway, I got a bunch of them and I just put my digital collages one after another. I'm showing the generation of the automated digital photo collage. I'm positioned next to Mike Romeo over here who did a quite extraordinary performance at the opening, really, of this ray tracing and space plotting of shapes, biomorphic shapes, and then glitch, glitch, glitch music. Right? That's pretty wild. Here's some more Mike Romeo. And then we have an artist named Tape Glitch over here.

Tommy Mintz

This is actually hand painted, but it reads digital in my mind. These are all just lines with a marker along a ruler. And he does this. Visek Manon. And yeah, so that's another view of the show from this wall. The Kingsborough Art Museum is a single space, but it's quite large. And we're able to really, really fill it with expressionist work. So thank you all so much for agreeing and being so generous with your work and allowing me to fit it into this installation here. Trying to give you another view. Tommy, I have a question for you. There are a few artists here today who are from other places farther away than North America. We have Michael Borras, aka CSTEM, tuning in from Spain. Great. We have a reel of some sort in the exhibition. Can you talk a little bit about that, please? Thank you.

Tommy Mintz

Sorry. So right now I commandeered the reel. So right now, up at the front of the museum, so let me give you another orientation. There's our Tomatillo right up front. And we do have Mikael Riess's sculpture here up front. And a front table with... That's Carla Gannis's work on it. And a number of books and candy to encourage people to come in and write by that we have... Hello, everybody. I commandeered this for our Zoom meeting. But this is normally where we have a reel...

Tommy Mintz

Video work that... Actually, Carrie-Anne is on, right? Her, is it bodies? I'm sorry, what was the name of the piece? Is on. And yeah, we have, here's the listing. We have a listing both in print here and online of the reel. I'm just going to paste a link in the chat to the reel directly and you guys can visit it. Thanks, Colin. Yeah, yeah. It's the same one that Colin's posted online. But we have it looped here normally just going, how long is it, Colin? Is it two hours, hour and a half? Somewhere in that range. It's an hour and 22 minutes and it's got like 44 artists from probably 20 plus countries. But if you're not seeing the transcript of the chat, it's at Techspressionism.com slash Brooklyn slash reel. You could also just get to the exhibition site, the micro site. By going to Techspressionism.com slash Brooklyn or off the homepage, there's a link there too.

Tommy Mintz

Yeah, so here maybe you get a sense of how central the reel is to the presentation. We have a bench that actually has Karen very generously lent me her wonderful speaker here that is doing approximate sound for people who are watching the reel. So it doesn't bother too much our museum director who sits right next to it. And maybe you can hear her. Make sure everything is working as it should. So I like that sound. The sound, stand clear of the closing doors, please. Any questions? Anybody want to look at another thing? Do you have any? Let me do a musical number by Wamuu because that was kind of my favorite moment there. Yeah.

Tommy Mintz

Cheryl, hi. Yeah, hi. Do it, whatever. Whatever. I was joking. No, you can watch Wamuu on video. He's, I mean, I could unplug one of these. I mean, we could hear his music. Everybody, this is wild stuff. I'm not sure if this is the, Whole Foods got the chopped cheese. He performs these live as a musical number and then remixes them into these mounted iPads that people have headphones normally to listen to. But I just unplugged it so we could all listen together.

Tommy Mintz

The live performance of digital art is something that I think has not been fully explored yet. And we really were at the vanguard of that at the opening. There's some really interesting live performance, including going into these wonderful environments that Carrie-Anne brought us. We had two more of them in the hallway here. I think Carrie-Anne brought us two more. You showed a picture of them, right? I didn't get to see everything. But one last thing that we had that I didn't show is we do have Darcy Gebhardt's work here, which is a, I'm sorry, it's an augmented reality sculpture garden that students get to view by scanning a QR code, pointing their camera at a trigger point, and then they're surrounded on screen by Darcy's sculpture garden. We have two of those, one indoors and one outdoors.

Tommy Mintz

Sorry, I had the wrong time. That's me. My bad. I had 1230, that's why I was late, everybody. But this is another trigger point for the 3D sculptures. Okay. And it's a very nice sculptural environment. Thank you, Tommy. You're welcome. Thank you. That was great. We're going to talk to some more of the artists whose works are in the show. But before we leave you, could you say one or two words about your team, the curation team, and the process that you went through?

Tommy Mintz

Sure. Thanks, Renata. So the curation team was myself, Seungjin Lee, who really is doing the Digiana group, and Giovanna Sun, who has unfortunately moved to Taiwan. And I'm going to say that again. Yeah. Mid-installation. So I'm hoping that she was going to be doing some podcast interviews. I don't know if that's happening.

Tommy Mintz

And Oceana Andres, who is an alumni of Kingsborough Community College studying at Columbia right now doing art history. And she was really the most involved in the process of getting stuff printed, hanging stuff up, working on all the details of the ities of the art. Yeah. So she was really involved in the installation. And I did have another assistant who is another alumni of the art program here. She was actually the valedictorian of our college in 2022 who is coming around and helping Jory Keough.

Tommy Mintz

Another wonderful young artist who both of them, Oceana and Jory, I think found this to be a really useful experience as young artists being exposed to this art. Yeah. And it's really close to the myriad of influences and ideas and forms that our group presents as art and really expansive in the idea of what we consider art making and art process. Right? And that's all changing with these different tools that we've been using in our different practices. So I think that's a really great experience.

Tommy Mintz

Walk around, really. And also the artists are on Zoom right now if you want to chat with them. So, yeah, it's the experience of co-curating. This exhibit was really very much about sharing, you know, that ethos of sharing and learning through sharing. Yeah. Yeah. So that's how I approached it. And the show is up until September 25th and there are plans afoot to tour the show. Correct. We are working on future installations. We're hoping to and I'll I'm sighing as I say this. I'm going to reach out to everybody and make sure that it's okay before we do that, before we take your work from here and install it somewhere else or think that, you know, we have free reign over putting it up anywhere. Anyhow, we will be in communication about upcoming installations as we find them as the opportunities present themselves.

Tommy Mintz

Absolutely. Hope you come to Washington, D.C. Let's find a space there, Cheryl. Come on. Yeah. Yeah. Let us know. I mean, really, we have the prints. If you know of any spaces that need a show on. We now have sort of a prepackaged thing. And we're hoping to work on a, you know, a new space. But if we can find some sort of PDF or some sort of booklet that we can send to potential presenters that have a space but want to know what we are, you know, we have such a nebulous definition. Having a thing. Here's this show that we've put together now twice.

Tommy Mintz

We can mount it in your space. Hopefully will be an enticement to more spaces to say yes to us. Yeah. Yeah. I'll try. Thank you. Yeah, everybody, I mean, really, you never know, like, who has a neighbor that has a, you know, gallery. Tommy, I saw in the chat that, about Lovid and Joey Zaza having screen-based work in the show as well.

Tommy Mintz

Yes, they do. It's right over here. Sorry, I walked past it. I'm sorry, I'm just gonna stand on the bench. Lovid and Joey Zaza are adjacent to, do we see them right there? Are on the other side right here of this screen. Where are we? We have our, I think the screen right now went off, unfortunately, on Joey's and Lovid's work. I'm about to restart it. But yeah, there's this set of screens that are now black right there, over that projector, unfortunately. And that's why I glossed over it, because I didn't get in today to restart those. I also didn't talk about Carla's piece up here, because it wasn't working a moment ago, but poof, it started again, so that might happen. One of the vagaries of digital art, right, is this sort of like, how do we keep it going challenge.

Tommy Mintz

But yeah, Carla's here to greet everybody in her virtual form there. And we do have a little welcome thing here. Hey. Hi. And yeah, that's the show. Other questions? Thanks again, Tommy. Speaking of Joey, speaking of Joey, he's gonna talk about his two screen-based works.

Are you there, Joey? Yes, I'm here. Renata, I'm not sure if you can pull those works up for me. And then I can talk about them. Yep, I'm just about to. Can everybody see that? Ooh. Awesome, thanks. So I had originally come to Techspressionism as a curator for our upcoming exhibition, Mauna and Techspressionism, which goes live in about a month, and will be on the mauna.org website.

Joey Zaza

During that time, Tommy asked me if I wanted to have work in the exhibition, since I also make work. And so I said yes, and now I'm a Techspressionist artist, which is awesome. In this exhibition, which was wonderful to attend in person and meet all of, or as many of the artists as I could, sorry for not chatting with some of you.

Joey Zaza

Wonderful artists, it's just like such an inspiration to be able to exhibit with you. I have two video-based works. One is called Wave Six, and one is called Wave Seven. They're sort of work that I was working on through the summer. Some of the inspiration is sort of invisible, invisible light spectrums.

Joey Zaza

Often I think of the word wave, and I'm kind of thinking of aquatic sort of waves and lakes and sea and such. It's also exploration into gradients, dimensionality, amalgamation, transparency, space and time, feedback loops, multiversities, minimalism, deconstruction and reconstruction, and dream states. And so on.

Joey Zaza

Wave Zero was actually exhibited out in Belgium as part of an Art Crush event. And I got connected with that opportunity on the Warpcast platform, which is sort of like Twitter in Web3. And there was an open call on the Curation channel, which I sent into. And from there, my work was exhibited on about a thousand screens in about 100 countries all over Belgium for the period of a week. I think it was exhibited about a million times or so. That was Wave One, which was sort of the start of this series. And I mentioned that because I feel that art has replaced advertisement as we've shifted out of Web2 and into Web3. So any of the prior models that the internet was built on in relation to advertisement is sort of just going to fall apart and I think will be replaced by advertisements. So we're very excited about that.

Joey Zaza

We're going to see people take over kind of places like billboards and throw art up there and the world will be a wonderful place. So Wave Six is sort of built technically and Wave Seven by starting in JavaScript. So it can be P5.js or 3.js and just creating sort of abstract form. From there, I take the works that I've created.

Joey Zaza

I can feed it into the emergent properties platform at mprops. And you can take the image and add like an artificial intelligence layer over the top of it, which kind of brings in some of the gradienting and some of the work that I don't really feel like manually creating as a digital artist. Because the AI can just kind of do it faster than I can. And from there, I have still images that I feed into an image to video AI.

Joey Zaza

For this, I'm using stable.vpn. Another popular image to video software is the Luma AI, which is producing incredible results. And I've created 10 of each of those video clips and stitched them all together so that you have this form that sort of expands and contracts. It always returns to the same base image. So each of these videos, which is about a minute 20, opens and closes in a variety of different moving ways.

Joey Zaza

Normally, I like to get my work onto the blockchain when I feel it's of a certain quality. Wave 6 and 7 are open for the next couple of days on object. I like the Tezos blockchain. It really embraces art. There's a lot of incredible artists making work there. And that's sort of where they sit. So yeah, thanks to everyone. And also just a heads up, this is the fourth year of Techspressionism Salon. So congratulations to you all for showing up. Yes, it's been four years somehow. And yeah, looking forward to another fourth. So thank you all.

Joey Zaza

Thank you so much, Joey. I was always really astonished when Joey told me that he's watched all of our salons. He's watched all of our salons on YouTube. Yeah, I had to for the curation to see what was going on here historically and try to reach out to all the artists that are currently. It's such a big thing too. Internationally, Techspressionism is much more than just the salon. So there's plenty of people I saw in the exhibition that had workup that aren't on here. And there's Instagram hashtags and so on. So it's quite, it's just like operating, I feel, all of the time. And yeah, we have this exhibition coming up. And it's becoming quite the force, I would say. So congrats to you all.

Thank you. Thanks. So I'm going to move on to Michael Pierre-Price coming to us from Phoenix, Arizona, where it's extremely warm. Yes. Thanks, Renata. And I also want to give a big thank you to the people that are here today. And I want to say thanks to Tommy as well. He and I had a Zoom chat a little over a year ago when he was contemplating some of the things that have finally come to fruition. So it's just beautiful to be able to see the walkthrough today, Tommy. So thank you for that.

Michael Pierre Price

I'm going to share my screen real quickly here. Okay. All right. So this piece is called Field, the Sublime Unconscious. And stylistic for me, this has been sort of an evolutionary new direction. I was doing a lot of experimenting during the early spring, and I want to give a shout out to the coworking group, the Techspressionism coworking group that I periodically kind of parachute into and am part of once in a while.

Michael Pierre Price

I got some inspirations. I got a chance to share some of my experimental work that I was working on, and this is sort of an outgrowth from there. The piece is a little bit AI using mid-journey, some painter and Photoshop. And... I'm going to show you a little bit of the work. This is what the piece looks like in the show. And I was really happy with the frame. I have to say just personally on that score.

Michael Pierre Price

So the word field in the title, if you look in the dictionary, there's a lot of definitions, a lot of different ways that the word field is used. Obviously in this visually, there's an open field in which these characters reside. And so that was part of it. But actually there were three other definitions of field that were important to me that are evoked in the imagery.

Michael Pierre Price

One is sort of like a field of subject. And for me, the field of psychology was very much integrated into this work. And then more technically, in physics, the idea of the field of a field, like a magnetic field or electric field, is a really essential part of modern physics. And for me, on the quantum level, there's this field called the quantum field theory. And it's a way of taking a look at what goes on at the subatomic level. And this was one of the things that to me reinforced this idea of field. And then fundamentally in mathematics, fields are used as well. And for me, specifically for this one, the field of complex numbers is inherent in how I make my work. Complex numbers are now being used more and more in AI. And complex numbers are used in fractals, which a lot of my work incorporates both AI and fractals.

Michael Pierre Price

Unconscious here in the subtitle, the sublime unconscious, I'm referring to Carl Jung's concept of the collective unconscious in which there's sort of this part of our humanity that we can deeply delve into where there are archetypal images, symbols that we find in our dreams and such. And for me, that sense of the unconscious is something that I think we should also consider as well. The color scheme that we use is a fundamental area of surrealism. And there's a lot of surrealism in this work as well. So onto the cast of characters that are in this piece.

Michael Pierre Price

You'll notice that the color scheme that's very prominent are black and white and red. And the black and white for me represent that yin yang symbol. Blood and it's the physical. So there's the combination of the physical and metaphysical here. I interpret this piece as essentially a dream or a revelatory image. And so for the viewer, what I'm hoping for is that they will look at this piece as an exploration of a dream or a revelatory image where they're trying to find meaning here.

Michael Pierre Price

The red monolith at the center is sort of the anchor for this piece. And if you think of the black monolith in 2001, A Space Odyssey, this is kind of where I'm coming from, that the monolith is sort of this inscrutable piece that's at the center of what's going on here. And if you take a look at the bottom left-hand area of the red monolith, there's a sort of dark opening. And that's the entrance to the void, the entrance to our dreams, the entrance to magic and sacred meaning.

Michael Pierre Price

So beyond that now, on the red monolith is this sort of gray-brown area. And for me, this was a scroll that was attached to the monolith. I originally tried working on some images that might have been able to be read, but I decided against that. I wanted the scroll to be faded enough that it wasn't easily interpretable what was going on here. So the main characters around the void to the right is the shaman. That's the character in the dark black rectangular field of black. And the shaman's wearing that cloak of black. Its head is tilted like a bird. And for those who might be versed in sort of imagery there, the raven or the crow is oftentimes associated with the void. And so I wanted that to be kind of a connection there.

Michael Pierre Price

And the shaman is knitting something or stitching together something. I wanted it to look like that area right below the head of the shaman would look like maybe somebody crocheting or knitting. And actually the shaman there is stitching together the fabric of the universe and the unconscious field of dreams.

Michael Pierre Price

And unless you get to see the piece up close, the word field is actually handwritten in the bottom right hand of that black area on the shaman. So to me, I think the shaman is in the black. So the shaman has two apprentices to the left in black, to the left of the that area. And so the two apprentices, the one on the left presents two parallel talking sticks that represent, again, the physical and the metaphysical.

Michael Pierre Price

And I wanted them to be parallel because usually we think of parallel things never intersecting, but in a non-Euclidean space, parallel objects do intersect with each other, and dreams to me are very non-Euclidean. The apprentice to the right has this long, what I interpreted and what I wanted to be sort of like this wooden flute, and so that apprentice communicates with the dreamer, the viewer, through music, through sound, through tones, and you'll notice that neither the shaman nor the three apprentices have mouths, and so they express their wisdom non-verbally, and in dreams, again, much of the wisdom that comes to us is through the dreamer, the viewer, and so that's what I wanted to do. The apprentice to the left is not spoken wisdom.

Michael Pierre Price

The two characters then to the right that are dressed in white actually represent the two dual representations of the dreamer, the actual dreamer dreaming the dream, and the one in the back that's receded to the back has two eyes, and so that's the dreamer in its waking state, and the dreamer in the dream state has no eyes, and that's the one that's to the foreground, and the dreamer is there to seek wisdom from the shaman.

Michael Pierre Price

Finally, the three birds that are floating around in space around the characters, those three birds represent the freedom to fly in dreams, to not be bound, to not be bound by the rules of waking physical reality, but the birds also represent or could be seen as electrons orbiting around the nucleus of the central characters, and as is in quantum quantum mechanics, electrons obey the Heisenberg uncertainty principles. So the reason that the birds look like they're just floating and not flying is in the uncertainty principle. If you know the location of something, which you see here in this image, you can't know their speed and direct of where they're flying, so there's that duality of the uncertainty principle of knowing certainty about something, but then being completely uncertain about something else.

Michael Pierre Price

So finally, I just wanted to say that the characters in the dream are not fundamentally, not fundamentally real, but are temporary expressions of the field, the field of dreams, the field of psychology and physics merging together. Thank you. Let me unshare my screen here. Thank you very much. Thank you so much, Michael, for that wonderful exposition on the field. Really original work, really striking work, and right at the entrance of the exhibition. Thanks. Thanks,

Raoul. I'm going to say a few brief words about my own work in the show, specifically the AR component, which I created, I guess, about May, April or May, and then I had it up for a while, and then I created another one. And I was using some of my current explorations of, in the Metaverse, where I'm still filming and making these film sets. So the AR component of the work can be triggered using the free Artiviv app. Colin's work also works with that app, and you can trigger it from a card, from a poster, from the work itself, the printed work in the museum. Which incidentally was done on an aluminum substrate.

Renata Janiszewska

And you can also trigger it from your screen using Artiviv. The music that I did for it is my own original music as well. And just briefly want to show you a work that is very similar to the work. Can you see that one there on my screen? Okay. This one's called Sildavia, and it was purchased by Mauna back in 2022.

Renata Janiszewska

I had minted it to the Tezos blockchain on the website object. And it's got a lot of the same elements that the piece that's in the Hello Brooklyn show has. This is when I was still working primarily with shapes as opposed to faces. And I was working with the face, and I was working with the face. And it's just interesting for me to look back to 2022 and see how there's a kind of dynamism to the composition that's very similar to the rocket ship dynamism. There's a lot of diagonals in the work. For me, this is a very Baroque thing, this diagonal tension that the artists of the Baroque movement used to use. And I see it in the clouds, the time, the humbling, the shapes, the colors. So I just wanted to mention that earlier work and how it ties in with the work that was selected. And just briefly a history of how the work came to be chosen for the show.

Renata Janiszewska

It was printed in an NFT calendar that was done by the Seattle NFT Museum for 2024. And Tommy Mintz just happened to buy a copy of the calendar, opened it, saw that my work was there, and contacted me about it. So it was also minted to the Tezos blockchain. And yeah, it's still there. So I have time, we have time for Colin to speak, and then Deanne. And then I was wondering if Patrick Lichty say a few words about the work that he had in the exhibition, if that's okay.

Renata Janiszewska

Thank you. So Colin.

Thanks, Renata. Can you guys hear me okay? Okay, cool. Yeah, just first of all, I'd like to thank Tommy immensely for putting this show together. This is the primary force behind it, beautiful installation, and very exciting to have our first museum show as a community. So, you know, kudos. And thanks, Renata, for moderating.

Colin Goldberg

So I have a piece in the show called Circuit. Let me just share my screen here. Okay, so the piece, here's an image of it that shows it to scale. It's approximately six by eight feet. It's 75 by 100 inches. And it has this AR component. That's it. So it's kind of like over it and then Oz Van Rosen and Renata sort of flanking the piece there. And there is an augmented reality component to the piece, which see if I can find the video real quick. Well actually I'll pull up, I'll pull up something else that is, so the, I'll, I'll give a little quick.

Colin Goldberg

Background on the piece itself. It's part of this series called Metagraphs, which this is the second large format digital monoprint. It's printed on vinyl. The first one was shown in Southampton and subsequently was shown in a showroom in the in the city of New York City. And it was a piece that was purchased by the Hearst Corporation, which I was very excited about. It's the first AR piece in their corporate collection. That's the CEO there on the right. And that was also printed on vinyl to those same dimensions.

Colin Goldberg

The work itself was drawn digitally in 1999. That was back on a Power Mac 8600. But we were able to find out more about this piece at the end of the year. And it was drawn in Adobe Illustrator. It's part of this series of 23 pieces that I called Metagraphs. And most of them were drawn in either 1999 or 2004.

Colin Goldberg

There's Circuit right there. And they were also eventually turned into NFTs. That was sort of the second phase of this collection. So around 2022, I started animating the pieces. They were done in layers and minting them to the blockchain. So Circuit is down here somewhere. There it is. And one of the pieces is actually going to be in the Mauna exhibition as well.

Colin Goldberg

I'm not sure if it's on this page, but yeah, that one's not here. But you could see this piece here is actually behind me. I just printed it on canvas recently. They also were collected into a book that I published recently on Amazon. And that's all 23 of the pieces are in the book. And they're also triggered by the Art of Vive app. So when you look at the pages of the book, they animate on the pages of the book. And it's a fun project.

Colin Goldberg

Paul Miller, DJ Spooky, wrote the foreword to that book. And each piece in the book has a it's preceded by a haiku. So and that has something to do with, you know, the piece itself in terms of just personal context. So this one. Riding the local at midnight to Union Square, graffiti and chrome. So I used to live down in the East Village on Avenue A and 2nd, which is where the piece was drawn in 99 and would often, you know, take the subway up, you know, or actually I would walk to Union Square, but it fit in the haiku.

Colin Goldberg

And there is also some text. There's audio. There's audio in the piece that was put together and some of it. I don't know if this. Audio will work. I hope you try it. But some of it comes from a subway. So, Colin, do you think the subway was your inspiration? What's that? What's that? We're thinking about inspiration. What was your inspiration? What was your inspiration for this piece? Was it the sense of the East Village?

Colin Goldberg

Honestly, you know, I think that the inspiration for the piece was probably subconscious. You know, like I did all of these drawings in a short span of time and they're all basically abstract. So, you know, when I when I came up with this term, Techspressionism back in 2011, I was like, oh, I'm going to do this. And it was really about it was relating to my own personal work at that time. There was no artist group around it. And part of it was how I related to this idea of specifically abstract expressionism, which is something that I was influenced by. And the idea that through technology, the, you know, the subconscious could be tapped into much in the way that, you know, the Abax painters might have.

Colin Goldberg

Described their work as about paint. It wasn't about something that was preconceived and it was a reflection of their own potentially mental or emotional state at that time. So kind of when I talk a little bit in the book about the idea of automatic drawing, which is what this surrealism did and most of these pieces were done in that sort of fashion where I started out and just without real aim or discrete inspiration. And they just kept coming back and forth. Kind of evolved from, you know, the process. So.

Colin Goldberg

Colin, are you able to answer a question from Vernetta? She has her hand up. Oh, no. No, I don't have a question. I put my hand up to discuss my artwork when everyone is finished. Okay. Okay. Thank you, Vernetta, for clarifying that. So, yeah, we are going to go over time because this is a special hybrid event and a very unique one.

Colin Goldberg

Colin, is that it for you? Yeah. Let me just stop my share. Yep. That's it for me.

Thank you very much. Deanne, my fellow Canadian artist from Edmonton, Alberta, are you able to say a few words? Yep. Excuse me. I'm just going to. So, excuse me. My work is called Just a Mom. And to answer Dylan's question, who just posted in the chat under Tommy, inspiration for a lot of my work comes from personal experiences. And this one is another one of those. So, this work is about labels and perception.

Deann Stein Hasinoff

And particularly in North American society, how status is conveyed through labels. So, often when we have discussions with people we just met, one of the first questions we ask is, what do you do? And so, for a lot of people, that's not really a loaded question. But I found when I left my job to stay home with my kids, that it became more of a loaded question for me because people, they were more like, oh, I'm going to go to college. So, I'm going to go to college. So, I had to make sure that I had a different sense of value in terms of a stay at home parent versus someone who was, so I worked as a speech language pathologist. So, and it became, the sense I got was that you were almost dismissed because you didn't choose to be a person or a woman who was in the workforce. And so, this series is based on that.

Deann Stein Hasinoff

The second image on the top right was what I felt the impression that people had of me when I told them I was a stay at home parent. And then the bottom two images are what my reality really is in terms of being a stay at home parent. That there's a lot more to it than just staying home. And so, I think that's a really important thing to think about. You know, we've talked about how there are many ways that people can stay home and cooking dinner and cleaning house and I do not clean the house. That is not something I said very from the very beginning that it was not going to be some sort of June Cleaver kind of scenario in our house. So, this was the gist of the work and I think it resonates with people who had similar experiences to me but also resonates with people who have had changes in their lives and their experiences with other people who are living with so I had a really interesting conversation with Roz's cousin, who had a similar experience when he decided he wanted to retire, and then quickly realized that he didn't like not being who he was in his career, and so then ended up actually going back to it after that.

Deann Stein Hasinoff

And so it's just something to think about when you're talking with people. Maybe asking them what they do isn't the greatest question. Maybe ask them what they're interested in. Where have they traveled? Have they read anything? What are they excited about? Because there can be some... There can be...

Deann Stein Hasinoff

I don't know. I'm losing my... I'm having word-finding problems right now. Because they... The impression people have of you when you give them a label of what you are, what you do is what you are, and that seems to be what is equated in North American society. And so I would say you are not what you do. That is just one part of you. And so think about that.

Deann Stein Hasinoff

I will stop the show. Thank you, Diane. Really appreciate it. Thank you. Really appreciate your thoughts about you are not what you do. Something we could talk about more. Next up...

Could Patrick Lichty, if you're there, would you like to say a few words about your piece? Let me see here... Yes, I think I have things downloaded. Can I get a share? Yeah, you can. Okay, great. Let's see here. Thanks, Tommy, for showing the work out in the gallery. So I'm going to just give a little view of it as the source file.

Patrick Lichty

Let's see here. Where is this? Okay. Okay. All right. So thanks so much for having, having the gain and I and, you know, I don't think the gains online, I think she's involved with some, some matters in Tehran. So, you know, I'm glad to represent the work. So anyway, couple things is that this piece we call it's a lot of our work together. We do this work on a project we've been doing for the last five, six years called Googled Earth. And it basically has to do with the with the fact that we neither one of us have been able to be in each other's, you know, home country, except in Google Earth, Google Earth VR. And that's where it kind of started. But it's just the fact that most of the time that we spend together is in is in a third place. And that's where Google Earth VR VR is. Sort of like now become just a metaphor for third place.

Patrick Lichty

So you know, this going into starting to get close to our fourth year, you know, it's become quite a project. So we have I kind of like to think that, you know, the Tree of Life House of Hope was so the idea of Tree of Life is kind of built off of a lot of the games, illustrations having to do with the you know, with the Tree of Life. And to me, I see and I'm not going to read what she says with it. But I'm just saying what I see is I see themes that remind me of the Norse world tree Yggdrasil, which has a which has which spans between worlds. I think it's a good metaphor. And then the other thing she and I both have a lot of metaphors having to do with like wisdom and the Odin myth of having, you know, of losing one eye for wisdom. And, you know, being that I'm nearly blind in one eye, I think that I'm starting to gain that in the wisdom of the All Father.

Patrick Lichty

But that's kind of, you know, kind of odd thing. But we started working on this together started out from, you know, some hand drawn work and some AI. And so you know, we have this with, I think what's interesting here is that we have, you know, the, the two sides of the tree representing, I think, I would like to think that the two of us, and, you know, where we're existing one place, another, I would like to think that her is a sort of like the, the moon and the day and minus the sun at night, and we meet in this central place where the game made this, you know, fantastic piece, putting it together with this kind of bay window, which I kind of consider it consider it as the house of hope is where we're going to be in the future. And you know, you're we kind of live together in this sort of liminal space between worlds.

Patrick Lichty

So, you know, it's a very, it's, it's, it's classical iconography. And, you know, whenever Negin and I work together, I think it's really magical. And then I'll go over to my own piece. I don't have a slide for it. Here is the, I don't really have a name for it, but you know, it's this 3d printed tree that actually it's F F U. If you look at it again in the, in the materials that are online, it's actually two prompt to AI trees that I welded together in software. And then I started printing and printing on my Creality Ender and using first translucent blue and I started using, you know, transparent glass, glitter rainbow, which, you know, I was with sparkles in it, which was kind of an experiment. But the interesting thing about it is the fact that it got up to about halfway through and, you know, it was a large piece for that particular model and of 3d printer and the printer started slipping it's drive belt.

Patrick Lichty

And so that meant that, you know, it started you know, it started printing for a little while, like maybe about a centimeter or so, you know, in another, you know, in another year or so. So it was kind of a little bit of a, you know, kind of a slipped plane and another slipped plane and another slipped plane. And, you know, so you wind up having, you know, lots of errors in your support structures underneath. That's why you have these kind of square curtains coming down. And then, you know, when it went, went over and off into unsupported territory, you know, you wound up with all of this spaghetti, which I think looked like Spanish Moss.

Patrick Lichty

And Patrick, I'm just going to interrupt you briefly. Tommy Mintz is showing your work on his screen. Oh, great. Speak. Oh, wonderful. Okay. Fantastic. Let's see here. You know what, why don't we, while we go over there just for a second. Okay. Super. And, but, you know, where I'd say people who are more attached to things, you know, notions of perfection would have, would be, would be just ready to throw this out. I just thought this was just absolutely gorgeous, you know, for what, for what it was. I thought it was, you know, just a, an AI 3d glitch. And, you know, I don't know how to duplicate it or anything like that. And I think that's where art comes from is from the happy accident. And so anyway, thanks Tommy. I really appreciate that.

Patrick Lichty

So thank you for taking it in actually. That's. That's, that's, that's the debut of that piece. Have you tried to do any lighter scanning of it, Patrick? It's almost impossible. All the detail and everything. It's, it's just, you know, it's, it's a unique 3d object and, you know, it's, it's, it resists, it resists scanning and also, and I think it fits so well with the gain in my work and that sort of thing. So, you know, we have these. We have these repeating themes of, of, of maps and trees and water and all sorts of things kind of which are part of the places where we spend together in between the two places. But, you know, and I think in a way that's kind of creating these are attributes of the, you know, of this kind of place in between worlds where we live together.

Patrick Lichty

Okay. Okay. That's my spiel. Thank you very much, Patrick. I was really touched by the poignancy of the work that you made with Negin for this exhibition. I appreciate it.

Verneda Lights is our next speaker. Okay. Thank you. Share my screen here. The title of the artwork that I have in the exhibit is Wise as the Serpent and Harmless as the Dove. And it is an AI piece that I created with Mid Journey. A lot of my artwork, especially the AI, is inspired by scriptures. And Wise as the Serpent and Harmless as the Dove comes from Matthew, Gospel of Matthew, chapter 10, verse 16, where Jesus is telling his people that he's sending them out as sheep among the wolves. And therefore, they should be wise as the serpent and harmless as the dove so that they not be harmed before the time. So, thank you. So, here, when I entered the AI, I used the actual scriptures themselves to see what the machine generates. And then I imported it into Photoshop and modified further. So, here, we have a literal interpretation, which I think works for the verse, because the verse is talking about, well, when you're dealing with scriptures, you're dealing with things that are in the concrete realm.

Verneda Lights

But also the impact of those things which are in the spirit realm. Because, you know, as human beings, we are body, mind, and spirit. So here we have a highly melanated being, which has been very difficult for me to obtain from mid-journey, to have a being that is deeply Black. They fought me on that for a long time, and I was finally able to get it. And I use this in this because, you know, we're dealing, we're hearkening back to Mitochondrial Eve, who lived on the continent of Africa. The mother of us all is a Black woman. And so here we have the serpent, you know, which is the devil himself who tend to be.

Verneda Lights

And the human and the, the serpent are confronting one another. But here we have the dove, which is a symbol of the Holy Spirit, which is many biblical scholars consider to be the divine feminine. We have the doves here interceding, which is what we are promised, scripturally speaking, that we don't have to be victimized by evil, that there is good also. And I think that in the days in which we are living, we are being confronted by evil. You know, here in the United States, you go on the news and there are just lies and lies and lies. And what I describe as a volcanic vomit of lies, coming out of politicians' mouths and, and determination to debase and degrade.

Verneda Lights

And there are a lot of racial overtones, a lot of sexist overtones, you know, a lot of misogyny going on. So I think in here, in this piece, we see all of these elements being presaged by the scripture, be wise as the serpent, harmless as the dove. That was basically during the civil rights movement. The call to arms was nonviolence.

Verneda Lights

And we were urged to be basically wise as the serpent, harmless as the dove to protest, but not get yourself killed in the, in the meantime to resist and yet live to fight another day. So that's basically the explanation. And I want to thank Tommy Mintz for including this piece, because it is AI influenced and because it is scripturally based, you know, in that sense, it is different. It's different from a lot of artwork that's out there, but I want to commend Tommy on the very excellent work, because this exhibit is just exquisite to look at. I was unable to visit in person. However, what I have seen online from those who could visit in person and from here today, is I see this amazing symmetry and also vision of the, the various artworks and how they interact with one another and the dialogue and present a, a world to the world.

Verneda Lights

And I appreciate that very much. It took an awful lot of work. And it's just so obvious the amount of work that it took. And I want to thank Tommy for his labor of love that he showed towards us here in the Techspressionist movement. So that's me. I'm going to stop share here. Thank you so much for listening.

Verneda Lights

Thank you, Vernata. We have a lot of other artists who are here, and I just want to acknowledge you all. Unfortunately, we're out of time. And it's been really my deepest. Thanks. Go to Tommy and to his fellow curators for putting the show together and making it look so professional and very inviting, a lot of varied types of work coming together in one space.

Verneda Lights

I also want to remind you about our next salon, which is going to be the Mauna Expressionism opening. And with that, Tommy, do you have any parting words? Yes, but hold on, I need to turn something off first. Okay. Having two views of the exhibition during the salon has been really exciting. Yeah, thanks for leading this. This was great to see.

Verneda Lights

Thanks, Tommy, for generating our- Thank you guys. And thanks to Professor Redden's class for coming in and visiting today. We have a group on hand here that's been listening. It was good to see it in person. A bunch of presentations and how to learn. Absolutely. It's good to see it in person. And really great to hear the artists talk about their work and be able to speak to the audience. Yeah, I think it's really great to see it in person and also see the layers that went into building it, these ideas. I really appreciate everybody. I got everything working here, so everybody is showing. Joey, your wave's going and a little bit the augury token's going. And Susan, your work up on that triple screen as well. I know it wasn't looping as I ran by it. But yeah, this is a wonderful show. And I really appreciate everybody being so generous with your work and time, sharing with Kingsborough Community College.

Verneda Lights

It's really, really a great contribution to our semester so far. So thanks. Thanks, Renata. Oh, one last thing. I found at the opening, somebody lost a bracelet. Is this anybody's? Is this magnetic bracelet anybody's? Anyway, if anybody's looking for a bracelet, we have it here at the... That's mine, actually, Tommy.

Verneda Lights

Who is that? Hey, that's mine. Look who it is. That's Gojo? Yes. Awesome. I'll send it to you. Or I'll get it to you soon. Awesome. I'm sure we'll see each other. Thank you. Great. All right. Well, thanks again, everybody. And please come back to Kingsborough. We're open till the 25th. Thank you, Tommy.

Verneda Lights

Thank you, Tommy. Thanks, Tommy. Thanks, Tommy. Yeah. Thanks. We're going to have our usual post-salon advisory board meeting. We don't need to have that, absolutely, because we have our topic for the next one. So with that, I think that's it. It's just a little bit of a break. We'll close this recording.

Verneda Lights

Thanks, Renata. I just wanted to also quickly, before we close, share, flip through the photo set of the installation and the reception for you guys who weren't able to make it. So I'm just going to share my screen real quick. All right. So I'm just going to flip through these quickly. All right. All right.

Verneda Lights

All right. And we have a set from the opening. I'm just going to flip through those, too. Those are kind of fun. All right. All right. And we do have a couple other events coming up associated with the exhibition. Thursday, September 16th at 2, there's an artist talk with Ann Shapiro on environmentalism and digital art, which hopefully we can webcast or Zoomcast at some point.

Verneda Lights

Or hopefully when it's happening. Wednesday, September 16th. We have Victor Acevedo doing a visiting artist talk. And I believe that's going to be via Zoom. So hopefully, you know, I'll be able to coordinate with Tommy so we can set it up that people can join in and, you know, get the word out to the Techspressionists and mailing lists and all that kind of stuff. I would say for Anne's talk as well, hopefully we'll be able to coordinate that so everyone who's here today and the general public can attend as well online. And then I'll be there. But at the gallery or at the museum rather on the 25th for a little artist talk and a closing reception as well. Is that correct? I'm sorry. I have different dates on my schedule. Anne, Victor, are those the dates you have? I have Victor on Monday the 16th.

Verneda Lights

Thursday, September 16th does not exist. I'm sorry. All right. I have the 18th for my talk. Anne, what do you have? This is my wonderful organization. You get to witness picture okay the 18th I'll slide you up at what time eastern state I believe it was okay let me see if I one moment did we say 3 p.m eastern standard and is that I had 11 a.m pst so I guess that's 2 p.m 2 p.m cool I have an at 2 p.m as well if ann and victor at the same time that's really cool to me because then you could have a dialogue together if ann is at the on the other day did ann drop off I could I could swap her in there no problem I just want to make sure that I'm getting chairs for the right days here yes victor so you're the 18th yeah wednesday a wednesday okay yeah I'd just like to point out it's not standard time it's daylight time oh my goodness wait so does that mess with things do we have a different gap then between no but if you posted eastern standard time and it's actually people try to figure it out it gets wacky yeah okay well I don't tell anybody right same time still three hours from yeah I'm only dealing with local people so yeah eastern time yeah that's enough and did Ann Shapiro drop off already I'll contact her she might be on the 16th which is monday everybody but I'm not sure colin is probably fixing that right now as we speak because he's so wizardry so and it's on the 16th colin you and nina so bell are on for wednesday the 25th for a closing panel discussion are you going to be in person are you gonna be here I'm gonna be down there great and nina will be here as well yeah oh cool that and then take down the show sounds good all right well yeah thanks again tommy for all your hard work and thank you renata for moderating this has been a great salon very cool that you know we could have so many people zoom in and talk about their work from all over the place so yeah and you know we will have a laughter party after this people want to hang out although we do have the topic for the next salon which is going to be the mounta exhibition the mounta expressionism collaboration exhibition so yeah thanks again and we will stop recording in now there's an end button on here they change they change the interface on me mid salon that's why it locked up and now I don't see a stop recording session so if I hit end and it ends the salon I'll jump back in there hopefully it won't but it's become progressively more and more of a confusing interface so we will stop recording in three two one and cut I pin it and it says end meeting for all that's not good where the heck does it say stop recording trouble the other day calling and within the upper right hand corner sort of disguised and then there's little buttons little dots colin I can I can stop it on my end I see it now it's up on the top right okay all right we will stop recording in three two one and cut