Salon 87 // Wild and Newfangled Techspressionism

Hello. My name is Colin Goldberg, and today is Thursday, October 3, rd 2024. We are here at the what is it? 87th Salon. 87.th Okay. Had to double check there. And this is a very special salon in that it is coinciding with an exhibition opening that is a collaborative show with the Museum of wild and newfangled art otherwise known as Mauna and we have the co-founders of the Museum here, who are the curators of the exhibition. Carrie Ann Shimsham and Joey Zaza and you know, the Techspressionist community and Mauna, I think, have a lot in common, philosophically, in terms of supporting artists and creating community. And I think it's going to be a really exciting exhibition. And I'm glad that you know, we're able to pull this collaboration together.

Colin Goldberg

It also serves the purpose of introducing a lot of the Techspressionist community artists to working on the blockchain to minting. And just general you know, kind of exposure to nfts in the blockchain, which I think is really important. And without further ado. I'm just gonna ask everyone who is not sharing on their work actively, which would be basically everybody to mute your microphones, and then I'll let Carrie Ann and Joey kind of explain the general format for this salon, so I will hand the mic over to them.

Thank you, Colin. Welcome everyone. So the general format will be. We're going to start with our curator statement. We're going to then take you to the mounta.org site to look at the exhibition there. And then we will enter into the metaverse space, the loop room, where we will do a walkthrough and visit each of the artworks, which all of the artists will take turns speaking to their work for approximately 2 min each. And after that we're gonna have a party in the in the loop room woo to celebrate 4 years of salons congratulations to expressionism.

cari ann shim sham

And for us, we're starting into our 5th year. And this is our 11th exhibition. So let's start with our curator statement. You're a Techspressionist when you say you are is more than a declaration. It's an invitation to embark on a collective exploration of a transformative artistic movement that bridges technology and emotional expression At its core. Techspressionism is an evolving dialogue between digital innovation and raw emotional truth. It calls upon digital creatives to identify with and contribute to a community where technology becomes a tool.

cari ann shim sham

Not just for creation, but for profound emotional articulation. Yeah, I'm very excited. Just to say that for this exhibition Joey Zaza Expressionism draws its roots from the expressionist movement which emerged in the early 20th century as a radical departure from traditional artistic representation. Expressionism sought to convey deep emotional experiences, often through distorted forms and vivid colors reacting against the constraints of realism.

cari ann shim sham

In this spirit expressionism continues this trajectory into the digital age, however, it does not merely replicate expressionist principles. It reimagines them through the lens of contemporary technology. The movement embraces digital media virtual environments and interactive platforms to explore and communicate the complexities of human emotions. Expressionism explores the cutting edge of digital artwork with this investigation of artificial intelligence systems and financialization of digital assets. But it is not just limited.

cari ann shim sham

To the medium of digital art as it expands behind the screen. This exhibition at the Museum of wild and newfangled art marks a significant moment in the evolution of Techspressionism. Our partnership highlights a shared commitment to pushing boundaries and rethinking the relationship between art. Technology and community. With this exhibition we present a curated selection of works that embody the ethos of Techspressionism. Art that is both technologically innovative and deeply personal.

cari ann shim sham

Our previous exhibition exit plan Critically examined. The practices of web 2.0 pushing Mauna to reevaluate its digital engagement strategies. This led us to leave harmful platforms and embrace new platforms like warpcast and rodeo which offer models for artist compensation and community interaction. Warpcast, decentralization, and Rodeo's equitable compensation reflect our dedication to fostering a more sustainable and artist-centered digital ecosystem and help us to promote this show and get the artists paid.

cari ann shim sham

As we launch this exhibition we also celebrate the 87th Expressionism Salon, a vibrant forum that has championed diverse voices and facilitated meaningful dialogues among artists from the past 4 years. These salons have proven essential, especially during the pandemic providing a crucial platform for artistic exchange and community building. In addition to our collaboration with Techspressionism, we are excited to partner with Loop Art Critique as our Xr exhibition, hub, Loop Art Critique merges the concept of Gissam Kunstwerk, a total work of art with contemporary digital and traditional art critique inspired by historical salons, loop fosters in-depth conversation between artists focusing on the art itself rather than the artist's backgrounds. Loop's approach contrasts sharply with the often superficial exchanges on social media, offering a space where meaningful interactions are paramount.

cari ann shim sham

Loop facilitates discussions that enrich our exhibition and reinforcing the value of thoughtful building. The power of gathering, whether physical or virtual, lies in its ability to foster connections, inspire creativity and challenge conventions. Mauna, Techspressionism, and Loop archatigue are united in their commitment to these ideals. This exhibition stands as a Testament to the dynamic interplay between technology and emotional expression, showcasing a diverse array of artworks that are as unique as the artists behind them as Techspressionism celebrates 4 years of communal gatherings and salon discussions, and as Mauna marks 4 years of curatorial innovation, this exhibition represents a milestone in our shared journey, it is a celebration of creativity, technology and community, a reflection of what it means to be human in an ever evolving digital landscape and wrapping up, we invite you to experience the exhibition, not just as spectators, but as participants in an ongoing dialogue about the intersection of technology and emotion. The artworks on display are a Testament to the innovative spirit of Techspressionism and a reminder of the profound ways in which art can capture the essence of our digital age.

cari ann shim sham

And now it's party time. Yay, let's look at some art people. We're gonna share our screen.

cari ann shim sham

So this is our exhibition page, our splash page, our entrance page. This is the fancy button that allows you inside. And here is the Curator statement that we just read. And you scroll down to the bottom. You click the next, and here we are. So this site is an Elegant and Intimate way of experiencing the art, with no distractions, no doom scrolling, no pop-up windows, no advertisements. And if you arrow or scroll down a little bit, there's a question mark that tells you the name of the work.

cari ann shim sham

This is ornamental uncertainty, sequencing the patterns of peaceful coexistence by Galina Shevchenko. And if you want to go to the next work, you just click on this arrow to the right, and that takes you to the next.

cari ann shim sham

So here you are inside of the work. You can mouse around and interact with this word. So we actually installed Ross's piece into our site. And again scrolling down, we have the question mark to show the name and the next arrow to get to the next work? So that is our so site. Say again. Yeah. And then when there's an nft that's linked to the associated artwork, you'll see that in the question mark. So this work happens to be minted onto the object.com site. So you can see the glb here and kind of mouse around, and it's available for purchase. There's a variety of different platforms that we're working with our exhibitions usually.

cari ann shim sham

Or on blockchain, such as ethereum and tezos, and anywhere the artist wants to mint, we're open to that. And of course, a lot of the works in our exhibitions are unminted as well. Our priority 1st is to be a place to exhibit art. And the nfts have provided a good way Of allowing the artist to receive compensation for their work. So if you just click the question, mark, and you see a link that will bring you to the page where the work will be available for sale. If it is so that's kind of how the exhibition works. On the mountain site. And now we're going to go over into the loop space where everyone will be invited to talk about their work.

cari ann shim sham

So to enter the loop room which you'll be doing after this you will go visit the loop room, you click here, and we enter into the space, you'll see the loading, and it's telling you the objects that are in the space. There's 142 objects in the space. That's a lot of objects. Those objects are mostly art. And you'll get prompted to join. It'll ask you to test your audio. And you will enter the space.

cari ann shim sham

So that is the way of entering into the space.

cari ann shim sham

So here we are. We're going to quickly turn around. And we still have things loading.

cari ann shim sham

Alright, so you can see. These purple lobbies are The items for the objects that are loading.

cari ann shim sham

So we'll just wait for those to propagate.

cari ann shim sham

And we will start.

cari ann shim sham

With the Green Sun. By Sahar Moussavi, and you'll see there's a link here, and that means that it is on sale at object dot com. So if you click on that link, it'll take you to object where you can buy this work. So, Sahar. Would you like to speak.

Yes, Hi! Everyone nice to see you all, and congratulations and thanks Kerry and Joey for your amazing efforts, and all the hard work. He did so about the Green Son. I 1st want to read my description about the Reed's Green son. And then talk a little about it. So I will read the description. The Green Sun, a dance of existence evokes a sense of isolation and resilience. Portraying the green-tinted sun as a silent guardian of the universe's grandeur and mystery.

Sahar Moussavi

Below the sun a barren tree grows from a floating rock. This is a land where time seems to stand still. A place that feels both ancient and timeless Cut in a perpetual twilight under the sickly green sun. That was my description about the Green Sun. So A foreign friend once told me that if every country or region add an umbrella above it, the color of the umbrella over the Middle East, including my country, would be black. The essence of my artworks is rooted in hope and resilience.

Sahar Moussavi

I mean, it's challenging times drawing inspiration from the landscapes of the Middle East. Which have become particularly gloomy and dark these days. I juxtaposed the region's darkness with symbols of Life and hope, like trees and blossoms. This contrast Reflects the current difficulties, and serves as a beacon of optimism, suggesting that even in the darkest moments Life and hope can still flourish, and I encourage viewers to find the light within the shadows.

Sahar Moussavi

Although the trip in this. Where the tree looks barren in this piece. But it may gradually thrive in the future. Thank you so much for presenting the art and giving me time.

Beautiful. Thank you so much, Sahar.

Friends.

So this is. Short circuit.

cari ann shim sham

By Bena Gain. Marie and Benna has been with us since the very beginning. Benna is in Europe, and not with us today. And we're just really happy to continue to showcase this artist. The work is available on object, and it's already sold circus by banana.

cari ann shim sham

We have machine texture. By Michael Woodruff. Michael, are you? Here. Is Michael here?

cari ann shim sham

I know Lucy's here.

cari ann shim sham

Missy Boyd Williams, Earth, Tree, Sky Orbs.

Hi, hi! Everybody! And thanks Carrie Ann and Joey for doing this, and Colin and everybody. Yeah, earth tree sky. I created it in 2022 as a short 6 and a quarter minute animation for dome display I showed in dome film festivals, and.

That's.

States in Uk and Canada. And. So it was created in virtual reality, and then rendered for dome projection and then, in 2023, I re-rendered it as a 360 VR. Because dome shows only half the experience. Only the upper half Of the whole of the whole piece. So when I re-render it as a 360 VR. It shows the underneath portion as well. And then here I've created these orbs where each each one is a single frame from the 6 min animation. And I put them together as a collection in a in a world during the Loop Art Critique which I participated in May, and that was super fun and now have this. One of them has been minted for this show, and I'm super excited about that really new to Minty, and I'm trying to kind of get together a collection of them, say, 16 of them Pigment on my own in my own collection.

Lucy Boyd-Wilson

But this is an earth tree sky, and just a little journey, exploring the sort of history of a tree from earth to sky, starting in the roots and up into the leaves, and then kind of Delving into Skyness. And that's my piece of truth. Thank you.

Thank you. Yeah. And we should say that when you are in the space, you can click on this button, and it takes you to the other world. So do try that. It's really exciting. Next up. Thank you so much, Lucy. Let's give Lucy a hand. Everyone. Lucy's been working in the loop space extensively, was in The loop. Art critique Alright. Who do we have here? We have Cynthia. Overdressed Cynthia. Can we hear from you.

We certainly can. Hello, everyone. Thank you. Joey and Carrie Ann and Colin, for making this experience happen for Techspressionism. I'm zooming in from North Providence, Rhode Island, Rhode Island is the smallest state in the Union, located on the east coast of the United States. We are home to the Rhode Island School of Design. And I'll talk about my work. 1st of all, let me say this about my work. I'm fascinated by the nature of reality. To that end I create, seen and unseen mindscapes and landscapes Overdressed, is part of a continuing 2D sculptural series that began in 2014. It continues to the present.

Cynthia DiDonato

This is an intuitive, Techspressionistic interpretation of fabric-like form and texture. Undulating in a horizontal repose. I thank you for giving me the opportunity to talk about my work. Thank you. Everyone.

Thank you, Cynthia. Bravo! Bravo! Shall I say? Bravo!

cari ann shim sham

I'm the place where the light goes out by Sandrine Dumiera. I'm not sure Sandra Praboon is with us today.

cari ann shim sham

This is approximately a 6 min film. And it is. I have no words for this film. It's. It's wild. It's entangled. Now it's text, precious. Yeah. Wonderful world. Some of the films in this space run for longer than 2 min, so encourage everyone to come into the loose space and check them out or on the Mount Exhibition. Yeah, this is one I just need some time to sit with personally and just Fake it in. It's just captivating great sound, too. Yeah, thank you. All right. You want to talk about Dr. Kim. Yeah, Doc.

cari ann shim sham

Dr. Kim Hamilton is another one of the kind of wild and newfangled artists that we see having connection to what Expressionism is doing. We put the call out to our community. We wanted to kind of bring some of the artists from our space into the Techspressionist, space. This artist often works with various artificial intelligence text techniques we've been exhibiting with them for their work for a few years now it's always a joy to see what they're creating. And over the years, too. It's kind of remarkable that you know the artists continue to just surprise you, and they always sort of continue to make the work. Not too many artists fall off. I think once you start the practice, you sort of stay in it forever. This work is available on object. It's just Joy for me to see him.

cari ann shim sham

And Dr. Kim is coming to us from Australia. Which is why they're not here right now. I think they're sleeping.

cari ann shim sham

All right. We have timber, tapestry. Vanity, Avila, are you here?

cari ann shim sham

I really love this work. You can really get up into it and see the details here. It reminds me of abalone and shell and crustacean and very see Oriented work. Yeah, some of the detail and the work in the exhibition is just fantastic. And I can't say enough. The quality of the artist coming from the Techspressionism Community. It's just it's like world class down to the down to the pixel and it's why I need so much time to sit with the exhibition and just really take it in and get into some of the detail. And so on.

cari ann shim sham

Night swatch by Adrienne Wortzel. Yeah, Adrian is on the zoom. I'm not sure if going to speak or not. Would you like to speak, Adrian? 2 min.

cari ann shim sham

It might be. Are they coming.

cari ann shim sham

Annette? Are you with us today? Annette? Ghosted artifacts, zigzags, twists, and turns by Annette Weintraub.

cari ann shim sham

Him.

cari ann shim sham

Melted architecture. I know Tim's over in Europe, and very, very busy exhibiting right now. So I don't think they're with us today. And this is another one where you can really get into that detail and see what's going on this digital painting. It's fun. You can fly through the paintings. All right next up.

cari ann shim sham

Deanne. You're here.

I am here. Yeah.

Balance. Would you like to talk about your work? Yeah, wonderful.

Well, thanks again. Like, as everyone has said to Carrie Ann and Joey for organizing this. I mean already. What we've seen is really incredible. This is one of a series of works I've done where I've taken things. I've plants and different objects I find outside, and bring them in. Photograph them and sort of triangulate still life. Sort of feel. This one I particularly love. The simplicity of it I tend to lean towards less is more when I'm doing these types of works.

Deann Stein Hasinoff

And so this one I call balance because feel like I struck the right balance in terms of the composition and the overall sense. I feel a sense of calm when.

Thank you, Deanne. Adrian, did you want to speak to your work?

Yeah, thank you very much. I was just frozen like but anyway, that piece is part of a series called Companion, and these are the faces in the Rembrandt are actual robots that are manufactured in the world to be Companions to people. And they're all different ones, and I've done a lot of robotics for many, many years, and I use robots to kind of act as avatars for humans expressing feelings. So this series is about The robot's yearning to be included in great masterworks.

Adrienne Wortzel

And to be part of the cannon Of fine art through history. So they're made in different countries. These represent Great Britain, Korea, and Poland. And for anyone who's interested. I have a Pdf. Of all the whole series, plus where these robots are manufactured. And I think, and they are prints on aluminum in additions of 3. And that's about all I'll say so. But I will say these come out of all the robotics work I've done over the years which I'm continuing to do now.

Adrienne Wortzel

Thank you.

Amazing. Thank you.

cari ann shim sham

Hey, Tommy.

cari ann shim sham

That Tommy, man.

cari ann shim sham

I don't think this artist is with a nomaritzu. It was Marito. Okay. Wait. Would you like to speak.

Yeah, sure, I really love this format of this synony. By the way, thanks for guiding us through this and pleasure to see us together, exhibiting and thanks for inviting me as well. This was made with a friend of mine who's a radiology artist. We created many magnetic resonance image based works. Okay? So here you see, the kiwis flies in the middle. Which is actually not sliced physically. And that's the beauty of this MRI fruit art. For this vitality of the Route better because it's not interest, so to say. So in the end, in all its vitality.

Moritz Albrecht

Juice, vitamins, everything. And you see the same slide, the 3 it's a two-way sequence Acquisition, and what I always love is to express diversity, but also equality. In the same moment you hear all these different colors which are crafted with radiology software. Exactly so. There's no filter or any other editing used. So it could be that this more towards the reality, because it's not modified, so to say. And also it is sort of gadish and color card inspired. But in the end it's not an abstract sport. It's very realistic, you see, a very realistic impression of the TV, and we were fascinated by the kiva as well. I mean just the shape you see, the radiant like could be a stun, could be an eye could be many other things. But we don't want to test the cure too much.

Moritz Albrecht

So it gives very much room for interpretation in the end, what we see in the in the TV. And also it is a fruit that is very equivocal in terms of attributes, so I think it could be both masculine or feminine. It doesn't matter, after all. But like this expresses this a bit in an attempt at least. And it's also there is a bit of a structure visible from the color which is predominantly with the blue ones on the lower and the back to the Side and the black background TV as well. So it's not actually just a color noise as the other color charts will be.

Moritz Albrecht

It's a bit washed out. You can see, maybe patterns in it for structures. But Yeah, after all, altogether, it's like it's very diverse, but also Equivalent. So the same. Yeah.

Thank you. Thank you so much. We love it. The word I want to see it minted so I can I get a Yeah. Give me one a minute.

Yeah, I will. I will do it before Mr.

All right.

cari ann shim sham

The wind blows in every direction. Sherry Karver. Yeah. Sherry's I don't believe is on has given us something to read. So we're gonna go with that. This piece. The wind blows in every direction is my movement, interrupted series which harnesses data, corruption glitches that occur on my TV screen due to uneven reception. This series uses a breakdown of technology for aesthetic purposes within a fine art context. I photograph my TV screen the moment the image, pixelates and fragments, stretching the colors, lines, and shapes into a new format which disappears in a moment.

cari ann shim sham

This is an actual, unaltered photograph, not created using Photoshop or any algorithm. The little squares that arbitrarily appear reflect how our technological world interacts with and affect people and the environment itself. It seems we are in an uncertain period in our history, where things are disintegrating and fragmenting on many levels, politically, socially, psychologically, and environmentally. This is what my work represents. Yet I see the beauty and hopefulness within the chaos.

cari ann shim sham

This series is printed as dye sublimation on metal, a very archival process in small editions. I've chosen to use metal rather than printing on paper, because the metal substrate shines through the surface, adding another visual layer of depth. The industrial feel of the metal works well with contemporary digital technology and the glitches that occur. Thank you. Sherry Karver. Thank you. Sherry. Wonderful series.

cari ann shim sham

I'm a pixel by Una Renata. One of our mountain artists with AI. How many times a week. I mean, I should know the answer. Yeah, they've been working with AI video for some time around. Sort of, I mean before some of the kind of like the stable diffusion models and lumos were kind of blowing up. It's always kind of fascinating to see what some of this technology is doing easy. They were a great artist. They hadn't kind of been working in VR and all sorts of technologies and such and AI, and very, very heavy in the blockchain.

cari ann shim sham

Heaven's jewels. Sandra Pipken is Sandra here today?

cari ann shim sham

Yeah, this is a work by Sarah Ratabarovitch. Who I don't believe it's on The call. It's exploration. Between shape and glitch squared The circle and sort of the back and forth between the 2 works we've been exhibiting with Sarah. We 1st saw her work. It was A series of Intentionally breaking the cell phone to create glitch imagery. So those works we're wonderful to see. Yeah, that was a 2021 mounted biennial and we've stayed in contact and have exhibited their work since.

cari ann shim sham

Lee Musgrave Lee has to be on here, Lee Musgrave in the house Aging Lee Musgrave. We've got tickled. Fancy here for you to talk about 2 min.

Thank you. Thank you very, very much for including my work. I was sitting here really enjoying your presentation and thinking back. When did this start for me. It started for me in the spring of 1962. I was hired to work in an art department for a publishing company, and they had A machine. Now, I use the word machine because no one in those days referred to it as a computer. It was a machine. And they taught me how to use it for their purposes, and as soon as the boss left the room I started playing with it to take advantage of chance taking advantage of chance is one of my favorite things in art.

Lee Musgrave

And I'm still doing it to this day. It's just that the machine has improved a great deal. So I have this long history of. Being confronted by things, and figuring out a way to take advantage of them to turn them into a piece of artwork that makes me feel good. If I don't feel good about it. Then I change it, or move on and set it aside and come back to it years later. And that's what happened with this. This is a bunch of trash that I collected mostly off the ground while hiking and walking.

Lee Musgrave

I brought it into the studio. I threw it up in the air and it fell down on the work table. And I decided to photograph it. Downloaded the photograph into the machine. And then started playing with how I can alter it to make it Radiate something that grabbed a hold of me one way or another. This particular one, if I remember correctly, was 1st photograph about 10 years ago. And I didn't start really playing with it until about 6 months ago. It sat in the computer all that time, but I never doubt I never dumped it because I felt there was something in there. And so The computer allowed me to find a way to bring that something out to the surface.

Lee Musgrave

That whole process is what makes me feel great.

Wonderful.

Thank you for including me in this show.

Thank you, Lee. Wonderful, wonderful! Though. Like a fine wine. It takes time.

cari ann shim sham

Wirgum, by Malavika Mandal Andrew is Malavika.

Yeah. Yeah, hi.

Hi.

Thank you, Mona, for organizing the beautiful exhibition. And, thanks to colleen at expressionism dot com because of you came to contact with Mona and all the tech specialist artists. My! The inspiration of my creation are the elements of life. And the idea of us. How we all are linked, dependent on each other as well as with the technology. The animals I never tried to draw or to create. But this particular section I never explored while playing with a scanned image of one of my drawing kam collage with title is we with the different tools of the adult Photoshop. I came across some unknown forms, and these forms were having a resemblance with the animal.

Malavika Mandal Andrew

So that's how the form has come up, and I have given the title of all the meaning of all the titles are animal. It's in different language. I say, I have used a Japanese, or I've used Spanish, but the meaning of everyone is animal. I didn't try to give some identity because it looks similar. It's not that's the we are developers. Thank you.

Thank you. That's wonderful. I love that you're connecting into animals.

cari ann shim sham

This is Robert A. Ripps. I know Robert's here. Did you want to speak about this? Hi! Sure.

Sure. So I'm in Lower Manhattan in New York City. And thank you everyone for including me in the exhibition and the Techspressionism. Zoom. This project is called Negativityness, and I started it about 9 years ago. And at 1 point I wrote this description that I later amended, which I will read to you this ongoing project, initially started in 2016. As my response to the political climate in this country. Everything seems to be about negativity about division.

Robert A. Ripps

About what is truth and what is inarguably false, yet, touted as truth. It is about how the surface of things can be 180 degrees opposite from what is underneath. It is about falsehoods and unseen influence. What was familiar and perhaps mundane has now taken on a sense of surrealism and unfamiliarity. It has since grown to encompass the effects and possible fantastical outcomes of the COVID-19 pandemic as well as ever increasing and cataclysmic consequences of climate change.

Robert A. Ripps

What would happen if nature took hold if vegetation overgrew the familiar and transformed it into something altogether different and foreign-looking, but also strangely beautiful. And this image is from some photographs that I took in Vietnam at the beginning of the year that I put together to create this piece.

Thank you so much that was so lovely. Really, really compelling to listen to you. Speak.

cari ann shim sham

Alright. We have stellar fire From crystal matrix.

I'm here.

Hi.

Hi, I'm Bill Rogers dialing in from sunny California. I'm the artist stellar fire. I create digital. Abstract light art photographs. My subject is the sun Extracted through crystal filters. Nobody else does this quite the way I do it. My art is a celebration of light and color. I call it crystal rainbow art. But, as you can see, my rainbows are not your average everyday rainbows. Claude Manet said. The main subject of his paintings is the light for me. It's the colors.

Bill Rogers

It's not about explaining or understanding. My art is about feeling. I try to evoke a sense of depth, of movement and convey a sense of emotions through color and form. The abstract approach really frees my imagination, sparks my creativity. I follow the colors and go where they take me, and this is where they took me. This is my crystal matrix.

Thank you. Thank you so much. It's beautiful. I can see the movement in there happening.

cari ann shim sham

Karen LaFleur, Fanwaves.

Hi, everyone! I hope you can hear me. Yes, thank you. Joey and Carrie Ann and Colin, and all the wonderful Techspressionist artists that are here in the exhibit. It's an amazing show. This piece here one summer I live by the ocean. I'm from Cape Cod, Massachusetts, and the ocean has been part of my whole life, because I've lived next to it. In one summer I took one title pool, and I visited every day. I would do no sketches. I would do no filming, nothing. I would just watch it, and then I would go home and do things like sketches, or these small video sketches is what I call them, and when Mona put out the call I saw this piece and I was like The sketch. Is it just entered into the show, and I'm so glad that you both picked this piece because it means a lot to me, but it is my impression of a title pool.

Karen LaFleur

So thank you very much.

This is Javier's work, Alpha Body, who was here earlier and had to run. They're in Spain right now, and they had to go to a rehearsal. But we had the pleasure of talking to Javier at the office hours. And, they're a really gentle soul, beautiful soul! And they're working with this idea of script and body and dance and movement and alpha body, meaning this kind of like layering of script and text with body. And we really love their work. We've exhibited them before.

cari ann shim sham

And this work is available on Tezos. They also do a lot of work with landscape as well. So there's the body seems to be a big core of their practice as well as Land! I don't even know if it's landscapes. Land is sort of the subject. Those 2 are interesting subjects to kind of have interweaving between each other.

cari ann shim sham

Alan Kinnard Green. Crack!

cari ann shim sham

I don't believe Alan is on, but this work is really cool, because if you connect the art Vive app, this is augmented reality work. So you open the app on your phone and you point it to the screen, and it'll start to animate the work. Which is cool. This is pretty high resolution, as a lot of the work is. So you can usually get pretty far in and see some of the detail as well. There's a lot of like layers of technology that are happening sort of in the exhibition. I mean, we're in the spatial web space, and it's a digital artwork with a layer of augmented reality that's being sold on the cryptocurrency. So it's like there's so many layers Of technology as we're on a zoom call right and like, on and on and on different devices, and so on. This work is Fay, by Genevie Denny's another artist that we've been exhibiting for a couple of years.

cari ann shim sham

Working with beauty and technology together, exploring self portraiture.

cari ann shim sham

Andy.

Hi.

Hi! You want to talk about nocturnal sprite.

Okay, first, st I just want to thank Colin and Carrie Ann and Joey and all the people involved. I can't even imagine the hours and days and everything, all of you put into creating this space, and I just makes me want to cry. But I won't cry. Sprites! It's something I started working on a few years ago, and I looked they were just kind of fun to make, and I spent a lot of time I moved here. I'm coming from Terre Haute, Indiana, and I'm originally from California, so, as you know, was a big change, and I have. I'm lucky, and I call my backyard area my oasis. And there's all kinds of different kind of critters that I'm you not used to. Anyway, all kinds of things. And so I start making these things to be kind of like.

Cindy Hawkins

Combination of insects and animals. And. I called them sprites. And I thought, why am I calling them sprites? And I looked up definition for sprites, and you know they're kind of like fairies and all those kind of things. And then I came across this scientific Definition. And there's such a thing as sprites and actually also elves that happened on certain Thunder and lightning storms. And the sprites are like reds. Red lines that come down, or something, I guess they're really hard to see.

Cindy Hawkins

So this is an ongoing thing to come up with the story behind it all. And so I have, you know, plans for. How they come into these come into the world that way. And they come in as in a cocoon. Anyway, I'm just. It's developing. There'll be animations, and I'm do it to have fun with. I kind of escape into it. You know, the world can be a hard place, and I'm actually humbled to be part of this exhibition. Such moving work that I have. I mean, it is amazing.

Thank you.

About it.

Thank you, Javier. We just saw that you're still on the zoom. Do you want to speak. Alpha? Body Of your.

Hi! Hi! Hi! Thanks for saying Calling me because I was very glad to be here. But, as I told you yesterday. Hello, rehearschel, and thanks for calling me, and have the opportunity to talk about my work. And this is this is a piece. It's a call from a series that is called Choreo scripts, that this is mixing The human body movement, sometimes from choreography, from dancers. And mixing with writing systems. These writing systems are taking from Alphabets or other kind of writing system that this is not already being used right now, almost haven't done it writing system. So it's an idea to combine some movements from the body, from the these alphabets, and this is the main idea of the work.

Thank you, Javier.

Okay.

Hear from you have a great rehearsal.

Thank you so much, Simon.

Exactly.

Party later. I would like to be here.

We'll see you soon.

See you.

Up, Tommy. All right. Here we are, with Downside up and through by Judith Jacobs.

cari ann shim sham

Judith, are you with us?

She was not able to be here. Carrie.

Thank you so much, Cynthia. Beautiful work. Yeah. Lots of detailed texture in that part, for sure. Yeah. This is the soundtrack to our trailer. If you've seen our trailer Posture by Xk. ERX. Not sure if they're with us today. And this song is forever playing, looping in my brain.

cari ann shim sham

Here we have. I, too, am a cat. By Steven Perry! I think Steven's here, Steven.

I am. Hello! I'm in Houston, Texas. First.st I want to thank you, Mauna, and thank you. Techspressionism for your partnership. I'm very pleased to be a part of this exhibition. In one body of my work and my practice, I create characters. Portraits of fictional persons. The approach that I use for these images combines 2 quite distinct interests. The 1st is storytelling, suggested and reinforced by the title of the piece, and the second is the interaction between pattern making and the infinite complexity and fascination of the human face. When I'm working on an image, I am aiming to fulfill both of these distinct interests. I think that something interesting happens when attempting to fulfill both simultaneously. The title of this image. I, too, am a cat, came from a practice that I've had for many years of introducing myself to actual cats.

Stephen Paré

Namely, to tell them that I am one of them. And this suggested A fictional character, who is, in fact, some hybrid of human and feline. And although I have not written a story that goes beyond this title, it has for me The suggestion in it of a longer story, and from that perspective the work is still open-ended and expandable.

Beautiful. I love it. Big cat lover! Here. I, too, am the cat.

cari ann shim sham

Thank you so much. This is herbidden flowers. I imagine Ehtesabian and Lichty. I'm not sure if they're here with us today. Or if Patrick's here, I'm not sure Patrick wants to speak to this. If they are here beautiful work.

cari ann shim sham

Renada.

Yes.

Hello!

Hello!

Tell us, tell us about this mark.

I'm speaking to you from Lion's Head in Canada, where the chill of autumn is in the air. Thank you so much to Carrie Ann, and to Joey. To Colin, to Tommy, to the other Techspressionists. I had a really important moment in my work life when one of my works, called Sildavia, was purchased by Mauna, and I'd never heard of them, and I was completely surprised by the acquisition by an institution. And that was several years ago, and since then I've been in several of their exhibitions.

Renata Janiszewska

And I must say that I was so happy to meet them, because they have so much integrity in what they do. And when I heard about this exhibition, actually, I was part of sort of getting the ball rolling on it. I had a lot of thinking to do about what kind of work I wanted to put in. And this work. Metaversal Madonna Cyber Saints. Is A reference to the triptychs of Northern European Renaissance. I have a lot of interest in that period of our history. In particular, there's 1 altarpiece called the Ghent Altarpiece, by Anne Van Eyck that made me want to do a triptych, and in real life these were paintings done on panels of wood, with oil paint and the wings of the painting. So, in other words, the 2 Sides with the multiple faces where the wings would have closed.

Renata Janiszewska

They would have been half the size that they are, and they would have closed to cover the front, the frontispiece of the altarpiece. And then, when it was time for people to come and be at church and be in the mosque. They would open the wings, and the centerpiece would be there, usually at crucifixion. Not always so. That's the northern European part. Then the Southern European Renaissance. The Madonna was a very, very common subject. And I wanted to make a contemplative work for modern people a postmodern people, if you will.

Renata Janiszewska

Post-contemporary, as Joey would say. And so I used very muted colors. I tried to convey a feeling of stillness in the objects that are in the work. I also put in some iconography that has to do with the ocean with shells. And, for example. The 2 lines of. Of shapes that you see going down and mark off the 3 parts. Those were my Shelves, because that kind of iconography was very common in during during the Southern Renaissance period.

Thank you. Thank you so much. It's so beautiful. And this is also available on object. If you would like to purchase. Not as beautiful as Sunnyberg. This is Reese. Schroeder circles. Flattened is Reese here with us today?

cari ann shim sham

Yummy. I know you're floating around your head.

Floating around. I'm hoping to experiment here, since we're using this interesting. Platform that I think I'm familiar enough with, that I might be able to share a screen of the process that I'm using to create. The work that you're looking at. So what that is, that's a. Oh, sorry! Let me see if I can share right now. Oops. Is showing up on everybody's screen. Did I cast something? I don't know if I did it correctly. Sorry. Let's see. I'm just going to stop, anyway. I was hoping to show you right now. I have an image in process that I'm generating using a small program. I wrote that I call the automated digital photo collage, which takes a sequence of images that I photograph and compares them. Pixel by Pixel for what's different? Often what's moved. So in this image, I'm viewing a crane that's lifting materials up for construction and. The form that's revealed by the cranes movement is this sort of fascinating flower, like tree-like Seemingly natural thing that I like to have here in this image, is sort of visually contrasted with the natural form of the trees elsewhere in the image. So that's something that I was thinking about in what I'm pointing my camera at and spending time observing. Yeah. So I also took note of Lee Musgrave quote of taking advantage of chance. And I think that's a big part of my work as well, where my process is sort of up to the chance of this dumb algorithm is not AI at all, you know, and what it. Has Noted as different to layer on top. I don't have a hand in the end, I just, you know, make the final choice of what to present as the final work. So this is.

Tommy Mintz

Yeah, I think that's what I wanted to say. Thanks for thanks for everything. And really I do want to say one more thing, beautiful space that you generated here. Really, I love the method of exploring curatorial process within this virtual space, and whether it's indoor or outdoor around the bushes hanging free. This is really lovely. Thank you so much for including.

Tommy.

Having us all here.

Larry, I know you're in the room. Would you like to speak about way the later.

Yeah, sure, I'm Larry Akers, speaking from Austin, where we're still enjoying summer. And this is a fantastic forum. And the artwork is amazing. So I appreciate being here. I'm an old school computer scientist, and I'm into purely geometric imagery. And this piece, the Wavelator, is actually an image generator that's created entirely with a spreadsheet old time spreadsheet. And it I've created a basically a schema for geometric images that provides some structure to the thing. And then it's parameterized A dozen different ways, so that I can inject a lot of variety into the piece as well as being able to select colors or even randomized colors. So it's an image generator.

Larry Akers

And it's intended actually for creating layered images where a background geometric image is printed on. I can eliminate aluminum material. And then a complementary image is printed on semi-transparent acrylic and then layered so that when mounted one over the other. They create a sculpture that's highly kinetic and interactive. And as you move around the piece, it really responds to your movements and allows you to have a personal interaction.

Larry Akers

This is actually a snapshot of the collapsing of those 2 layers just into one digital image. But in doing the series of these, whereas I approached it purely as a, you know, work of geometric abstraction. What I discovered was that I was wandering into A set of different earthbound environments, you know, like an undersea or a deep aquatic environment, or deep forest, or there were other areas that were more like seared Landscapes, or even landscapes being consumed in an inferno, you know, suggested by, you know, our global warming problems. So it was really an interesting kind of crossover from that really purely geometric world into an abstract world that was earthbound. And I've had a lot of fun with that.

Thank you, Larry. Wonderful work. We have over here. Artificial fog series by Argopakumar. I'm not sure if they're here with us today. Ours, not here. Ours, not here. Okay.

cari ann shim sham

My screen.

cari ann shim sham

In disappointment.

cari ann shim sham

And reloading, my screen froze. So what we're really here to talk to you about today is technology. Wonderful, wonderful technology. And how sometimes it just freezes. Give it a little reboot. And you're right back in the exhibition. Broke it. That's our intermission. There. Okay, act 2. Yeah. Act 2. I guess we can go left at this point. She have to keep. Bear with us. We're almost getting back to where we were okay. Okay. Look at Beatrice Krone, who is not here with us today, but Longtime mauna artist. And this is a wonderful site that you can access through clicking on this link. It's a tarot from Siberia by Beatrice Kron.

cari ann shim sham

And you can ask questions and you click on this button, and it gives you a card. A Tarot card in response. And they're all From Siberia, meaning like the Internet Siberia World that she's created. And she's a wonderful artist.

cari ann shim sham

Joining us.

cari ann shim sham

She does a lot of paper cutting work. So let's move over here to our other Cynthia, Cynthia Beth Ribbon. Who cannot join us today. Happy. Rosh Hashanah! This is Eden's water, Eden waters. Microscopic life in the springtime of our earth. Really beautiful work.

cari ann shim sham

By Cynthia. Ross. Would you like.

Hello! Hello! Everyone!

Hi.

I'm honored to be here. It's been great to be seeing all this work. Thank you, all of you. I as many of you know, I got into this space in New York City when my paintings oil on canvases, all started filling up with electronic squares. This piece is actually from 1995, I worked at the World Trade Center for 10 years, off and on, and you know, I was at places like Lehman Brothers. I mean, it's the heart of capitalism. You're at the heart of money in the world, and my content, as some of you know, is almost all Americana. Whether it's portraits of Lincoln to guns, to commercial products. But I was fascinated with the we were doing these bar charts on the night shift at Lehman Brothers, where you're just measuring all this gazillions of dollars, and I would go home at night. And it was looking back. That was at the time when Photoshop and just get this just there was the 1st advent of layers, no layers before until 1995. So I would go home and work on all this equipment that I work even in the evening, at the places where I work because I was getting. We were getting lots of equipment companies were investing and seeing that tech. This whole digital thing was getting interesting.

Roz Dimon

And this piece was created in Macro, media director and Photoshop layers. And it's really taking the bar chart and just making a complete nonsense of the whole system. And it is an animated piece. It's really never been shown. I just rolled this up. It was on a CD. For years, and I just rolled this up with my working with my 25 year old programmer, who I've never met. But we work on zoom together. He's in Illinois. This whole space is so fascinating. I hope I don't know if I'm at 2 min. But basically, if you go into worldsgreatestbarchard.com that has just been relaunched. Oh, is there a link that would be great, and you will. You can click on the outside crazy little icons, and you'll get different. It's a masterpiece of audio as well, I have to say, for Carmen Borgia, who also worked with me. I always work with a small team.

Roz Dimon

But you go into the noses and you can go into the water. And all these crazy images come up and flags and audio, and you can mix 2 audios together by using your cursor. And it's just it's just a lot of fun. And I think it's still very relevant today in our World, where you know, the 1% of the United States sounds like 95% of all the goods. And you know, it's it speaks to that in its own nonsensical way, and it also relates to my diamondscapes, which are now.

Roz Dimon

You know, we didn't have the same technology. But Macromedia was great. But it's I'm doing the kind of same thing. Almost all my work are still paintings that exist as a still painting, but they're also A place where you can dive into that painting. Anyway. Enjoy and thank you, Mauna. It's great to be in the Mounta Metaverse here with my favorite tech group art of artists. Techspressionism. Thank you so much.

Thank you, Ross. And yeah, you can open the link just by clicking onto it as well as in our web. Our 1st site that we showed you the Mauna Museum.

Oh, that's great, and I look forward to it someday, someday, being an nft, but.

Yeah, yeah, we'll figure that out with you. We'll figure it out.

Thank you.

Yeah, we want to do that, too. We're coming back over here. Woo! Woo! Woo! Are you getting dizzy? This is 1916. Detrius by Lee Schnaiberg. Isley here.

Hey!

Hi.

Thanks so much for doing this show Arianne and Joey and everybody to Expressionism is a group I'm very fond of, and I'm in awe of being a part of. Because everybody's smart and very talented and can use. I'm not that great with all that stuff, but I like to play with technologies. And this, like most of my stuff, is really just messing with the algorithm Panorama out. And the thing that I thought was really interesting. About a year ago I started finding all these grills, and in the bottom there you can see if you zoom in. There's an old waffle, iron Bars of steel, just stuff that was in my backyard like underneath these vines, and all this stuff was like sitting there, and I could have just gathered it up and Tossed it in the recycling, and hoped that some of it would actually get recycled.

Lee Schnaiberg

And I was like. Well, there's really strong verticals and strong parallels. There's the waffle iron. It's from the fifties crazy stuff, and it's a throwaway society. And this stuff was thrown away. So I was thinking like, well, like, you know, with Duchamp. Another part of this whole area in the detris dutritus is old bicycle that's been cannibalized over years. So I've been doing this included that in this series, too. But so all this stuff is throwaway. And it was it was mined it was taken, and what I try to do with this stuff.

Lee Schnaiberg

So I don't really feel like I'm smart enough to get really deep. But what I try to do is sort of just blank my mind when I'm doing these works, and just be in a movement and be able to like sort of zen out and be aware of, like the consciousness that even if there were rocks with metal, and then they were mined and melted down and formed in some factory in the fifties or the seventies. There was, I think, there was consciousness, so I try to tap into that and try to bring that out in the work.

Lee Schnaiberg

But I do feel everybody's really smart here. So.

Thank you, Lee. Just like you, Lee. Wonderful work. We all have our different intelligences. And I appreciate you, Lee.

cari ann shim sham

Alright. Let's come over to Chalda. I'm not sure if Childa's with us today. Childa, are you here? I think I saw you in the room.

Yes, I am here.

Oh, wonderful!

I'm putting my work.

Yeah, let's look at your work Board on.

We're done. A number of years ago. I was feeling kind of overwhelmed by general negativity and pessimism on the news around me. And one day I was working in the dark. And I was struck by the smallest bugs in my garden. Special will live. It's vibrant. This dedication Industrious. The tiniest, most vulnerable Of things, and I decided to make 3. But maybe you would call them bugs. They're not really in any taxonomy, but they're that's be very no lifeborn.

Chalda Maloff

And this one is called Poor Dawn. One of the things I did was Exaggerated. Scale. These are 30 by 30. Yes. The beam fills the whole frame in a position of total confidence and vulnerability. Spread out. Palate. That kind of vibrates and invades this. Optimism, I would say. And I do these. I print them in House 30 by 30 on Glass paper, met them on. It's acrylic. And I do them in addition, period of 3. So in between.

Chalda Maloff

Print. I reworked the file a little bit. So all 3 in this room does. Like the differences. So this health series is called Key. Thank you.

Thank you. Thank you. Color palette is just so refreshing. I feel like I'm Fucking on candy.

cari ann shim sham

So here we have Fanny's firearms. By Judith Carlin.

Hey! Hi, everyone! I'm from Miami. And I want to thank Carrie Ann and Joey and Colin. I'm thrilled to be in this, and thank you for the opportunity and the experience. My work right now is created using the procreate app. It's narrative. My husband, Roy Lorenz, and I have been doing a lot of road trips through the Southwest and the deep South. He's originally from the deep South. And what always gets me about being in the Bible Belt is how religious it is. All the Evangelicals and family, this and that and church. But yet there's Gun culture, and how violent the violence you can feel right under the surface. And even if you question someone, it's like, Oh, I better pull back because this can accelerate in a bad way.

Judith Carlin

Anyway. So in Fanny's firearms. I wanted your sort of an older, hyper feminine woman who's very folksy, and Hi come on in. And the name of her store is AR 15. She sells lady guns because people have actually said to me, Oh, you live in a big city. We have a nice gun that would fit your hand perfectly. And I'm of course, horrified. But Lady guns to stick in my head, and I like the a lot of my work, has a lot of symbolism and exaggeration, bright colors.

Judith Carlin

The more horrific stuff I'm dealing with, the brighter I seem to get. And so and what is the juxtaposition of guns and religion. You see the Bible study Tuesday, 6 pm. We also sell candy and popcorn. There's hearts. There's little red, white, and blue patriotic stars. There's cheap seeing knickknacks. One is a cross, one is an angel. And I just sort of wanted this to be a snapshot of gun culture in America, and I want my work to be not a real reality, but an expressive reality.

Judith Carlin

So thank you for selecting my work and congratulations to all the artists.

Thank you, Judith. Your work is really prolific. It's so strong. And we really appreciate The activism that you are. Anything around these topics. We gotta talk about it. Let's talk about it.

cari ann shim sham

All right. We have love flies by Cara. O, one moment.

cari ann shim sham

Hey!

Arianne and Joey, and everyone making this exhibition a reality.

Caro Ramonde

The step in case of Pardon.

We can't hear you.

And we are, yeah.

There we go we can hear you.

And this during the pandemic I was Vancouver, and specialist meeting became a highlight of the week. We even have collaborations with other artists which was awesome, like Lucy and Michael care present for both of them. This piece was created after this artwork that I made in oil on canvas. And it's called Praying for peace. Yeah. I isolated one of the crows, and then I applied it. And the artwork was created after bombarding that killed many children in a military conflict during the pandemic.

Caro Ramonde

And it represents where playing, praying at the cemetery after her friends were killed by musings which are represented by the crowds. And my process starts with total abstraction, with creating my oil painting, and then I like to intervene them with check.

Wonderful. Thank you. So much. Beautiful, really beautiful work, these birds and the light. Really stunning light work happening here.

You. Yeah.

You're not a. Tornado.

Yes, thank you. Remain there.

Grenada. Tell us about your work.

Well, 1st let me thank you so much for Inviting me and involving me in this wonderful exhibit. I've so much enjoyed seeing everyone work. This is my artwork entitled Jesus with white hair and Diving into my artistic journey. I'm excited to introduce my one of my latest digital paintings uses white hair measuring 28 by 28 inches. This piece marks another chapter. In my exploration of religious iconography and its modern day implications. Jesus, with white hair, vividly Captures a stylized.

Verneda Lights

Abstract portrait of a contemplative face of the Messiah. Composed of geometric shapes, and rendered with a warm color palette. Each segment and curve of the design. Interlocks create a new mosaic like colors, range from rich brown to set up beams and golds. Offering a sense of depth and harmony that blends abstraction with realism. The facial features, detailed and expressed convey a profound sense of solemnity and introspection drawing inspiration from my Jesus Christ the 1st Avengers Series.

Verneda Lights

This hardware tackles the controversial use Of religious images to perpetuate racial oppression. Traditionally, Jesus and other Biblical previews are often depicted as white men and women with straight blonde or brown hair. However historical and Biblical narratives describe Christ differently as a brown-skinned Palestinian Jew. In the Book of Revelation he's depicted with there literally white, like wool or snow. It seemed as though they were made of brass fired in a furnace.

Verneda Lights

Suggesting a spectrum of colors, black, brown, white and green. The creation process of Jesus. White hair was unique and introspective. I practiced this piece with the help of Biblical sisters in Revelation, Chapter one, and the innovative midjourney. AI. This fusion of traditional, inspirational, and modern technology mirrors my vision for the peace. A harmonious blend of past and present. As an artist, I am driven by the power of art as a tool for dialogue and reflection.

Verneda Lights

Jesus, who's right here, invites viewers to question prevailing narratives. And to embrace a more inclusive and historically accurate representation. By challenging conventions in religious psychology I hope to inspire conversations that bridge cultural divides and fosters a deeper understanding of diversity in the spiritual realm. Thank you very much. It's my honor to be here.

Thank you so much. We love this work. And I'll correct that little title down below and add the with In there, Jesus with right there. Such stunning work. Thank you. Over here we have a peace guide tree skull found. This is also available on object, this artist from France. Let's hear from you.

Thank you for attention. Thank you for duty, integration, and joy. And this species is the Delta Boat Dragon. The work refers to the use of Delta wave in Binoura beat. Which are associated with deeper meditation, and accessing to subconscious. By combining this well frame animation of a main canvas, I offer a multi-pensory experience that puts that cool, potential tape into the viewer of Cta. Sorry I'm French. I'm so difficult to speak in English. I use the painting. As a basic of my animation, I explore a rich cultural heritage and pose.

David Godefroy

My own contemporary tame and idea. The 12 frame of my animation could be seen as a reinterpresentation of the original allegory, perhaps exploring the birth of the new idea Of the emergence of new consensus. Data wave with frequencies range from 0 point 5 to 4 hertz are the showers and is amplitude. Brainwave typically associates with deep sleep and consumes youthness and meditation. When we are in delta wave, our brain activity slows down, and we become less aware of our surroundings. The combination of animation and delta wave could create a deeply Relaxing and meditative experience, allowing spectators to access their subconscious, and to further deepen to concept and super realism which is defied into the progression of a proposal artistic.

David Godefroy

You for your attention. Excuse me from my end lips. Thank you.

School. It's so nice to meet you and see you in person, and thank you for being here and you can hear the sound coming a little bit from this work. It does have a soundtrack.

Makes you some good treat.

Thank you. All right. Andrew Quadramid, by Andrew Reeding.

Thank you, Carrie Ann and Joey and Colin really honored to be included in this wild exhibition. It's really been wonderful to see everyone's work. So I'm going to just read what I wrote about this. The work was created in the 3D. App blender. My work evolves over time with a constant drive of its connection to architecture, the challenges to merge mathematical aspects of tectonic systems into the constructed form in space. Hovering between arts and architecture, envisioning and making geometric structures and tectonic systems and blur boundaries of constructed space and sculpture.

Andrew Reach

Different kinds of architectures emerge, that uncovers discovers unexpected three-dimensional patterns forms and dynamics, even electrical kind of plugged in vibrational spaces. Creating complex geometric constructs, engaged simultaneously analytical and synthetic operations. I look to ancient forms for inspiration and great pyramids in Giza being one that I marveled at since I was a boy. These massive solids smoothed out with a cloudy of limestone, covered massive blocks. I would take a cue from these blocks and begin experimenting with using blocks to create new 3D structures like a raster image with a grid of pixels, starting with a grid of squares and a flat plane with only X and Y coordinates.

Andrew Reach

The grid is turned into a 3D. Grid with a Z coordinate. Think of a chess board, and then think of 3D. Chess with multiple levels of the chessboard stacked on top of each other. But in my version the grid is given an additional dimension with each square extruded in the Z axis to be cubes. I like to think of this approach as pixels in 3D. That is how Quadramit is built with grids of 3D. Pixels stacked on top, stacked on top of each other. Quadramit is a square pyramid built with 289 multicolored, 3D. Pixels, with multicolored sloping fins at 51.5 degrees.

Andrew Reach

Which is the angle of slope of the Great Pyramid of Giza. It began with 545, 3D. Pixels, forming a complete 4 sided pyramid. But I removed 64, 3D. Pixels from each of the 4 corners, giving it a distinctive eight-sided shape. Movement, and light are the forces that bring quadramid to life. Shadows cast by virtual sunlight, delineate its forms and reveal its colors. The work moves like a ballet floating in space in a black void. Turns and twists, revealing its multiple facets and color optics. It has no preferred vantage point. Multiple points of view are necessary to fully understand it.

Andrew Reach

And I would just like to add to that my background. I was an architect. For 20 years I practiced architecture for 20 years, but I have a spine disease, a rare spine disease that ended up fusing almost my entire spine. I cope with chronic debilitating pain, and I find working in the virtual 3D. Space of 3D. Apps is a just, an amazing escape. You kind of get totally immersed in what you're doing. And you the world dissolves away, the pain dissolves, and I get lost in a plane where pain does not live. So I know there's a lot of other disabled people that use technology in creating art. And it's a real blessing that we're living in a time when we have this ability to use technology to help us cope with challenges that we face in our lives. Thank you for allowing me to share my work.

Thank you, Andrea. Thank you for sharing. Of blood from a stone. Ira, open.

cari ann shim sham

Iris. Not on really detailed, beautiful work. You can get really close in there and see so much. Next up we do have Woman in Iran by Farnoosh. I know Farnoosh was here earlier. I don't know if they're still here. I think they had to leave. I think I saw in the chat. Really beautiful work by Bernish.

cari ann shim sham

Hello!

cari ann shim sham

And we have you cut. By Max is Max here, Max, Dolly, Camilla Kaluba.

cari ann shim sham

Yeah, Max, if you're trying to talk, I think you're muted.

Hi! I'm Juan.

I'm Max.

Thank you.

Max Dalí / Kamilla Kulova

I'm actually from the world. Notes that I'm leaving.

Max Dalí / Kamilla Kulova

And these are his artwork. Quantum journey is a. It's part of a collection called Phantom Brain and. The collection in general talks about something. I was waiting for a long time. And I mean. The moment when science is getting closer to the magic. The quantum theory that's a give this. He is a border between magic. There's an unexplicable and. Can be explained now by fire. That's correct. These artwork in a specific way. Called the Phantom Journey. It's a walk through interdimensional work.

Max Dalí / Kamilla Kulova

Retirement phase. The lines. The lines that are so are. Remember, remember the strength of the Pinktails. So we have the opportunity to explain The power of our souls here. And our ability of 8, 6 Science and prediction. Through Science. Now, so the border between the Unexplicable and the science. It's coming closer, and it's going to give. Out of faith. To give.

Max Dalí / Kamilla Kulova

Sign on something that People and think is only part of imagination. That's all. Really thanks for the opportunity. The huge opportunity.

Thanks.

And I hope to be able to exhibit more with you. Thanks very much.

Thank you so much. Wonderful work. Next up we have Patrick Lichty.

cari ann shim sham

Endangered species is the name of the collection. And this is black, double rubber, ducky. And this is minted to the Tezos blockchain, so you can get one for yourself.

I forgot to say that the collection is available on foundation. Thank you very.

Oh, thank you, thank you, thank you. You can drop the link in the chat here we have, is it? By Anne R. Shapiro? I'm not sure if Anne's with us today, Anne, are you here? And would you like to speak.

Unmute my audio and unmute my video. I'm suffering from a cold. So I've tried to stay in the background. 1st of all. I want to thank the 2 of you, Carrie Ann and Joey, so very much for this opportunity, and Joey a little, especially since he encouraged me, I said. I don't have an nft. Don't know how to do it, he said. No, no, you can still still participate, so I'm delighted to. So I keep. I work mainly in climate change, but I keep what I call a daily diary, which is neither daily nor diary but it allows me to get off. The whatever is in my head at the moment is what is what comes out.

Ann Shapiro

And normally I keep. I must have responded myself to? Is it because I normally keep things by date? Because they number probably at this point in the thousands. It's just there's no message here other than what I'm thinking at the moment, which, Heaven knows. This looks a little scary, and I'm so happy to participate in this and to what happened. Thank you so very much.

Thank you. Thank you, Ian. We're so happy and happiest.

cari ann shim sham

We have Queen of Monsters, by Michael Pierre Price.

Hi, thanks. It's pretty amazing thinking how far these salons have come. I've been fortunate to be part of these since number 3. So it's pretty amazing. This piece is an experimental piece. I've been using AI to combine several styles of my own artwork, mixing fractals with some of my surrealist work, and some of my abstract work and queen of Monsters refers to basically a period of time a hundred years ago, or a little bit more when there were revolutionary things going on.

Michael Pierre Price

Not only in the art world, but especially in the areas of mathematics. Physics. The onset of Einstein's theories and quantum mechanics. The underpinnings of fractals were beginning at that point, even though it would take decades before fractals became something mathematically possible through the use of computers. And this piece for me is that is, that spirit. The queen of monsters is the spirit that as human beings we tap into when there are revolutionary changes in thought.

Michael Pierre Price

Yeah. Moving forward as a species. Of my work is the union of those things. So that's what this is all about for me.

I need him. And then. Stunning. Thank you. It's interesting, too, to think of how the computer was able to bring an idea like Raccoho's forward. So you kind of have the thinking of some of these ideas, and in the power of technology to kind of bring it forward, envision it, and just push some of those.

Absolutely.

Hello!

cari ann shim sham

1st work to sell. That was our 1st work to sell for this exhibition. They're not on. They're not here to sell. No, no, they're not. They work a lot with gifs and language. This title is rather a long one, so Sunrise over an alien ocean. Build the strange clouds. Cha is one of the people who is also working with loop. I build a bar, could think so now we are inside. We made it inside everyone. We're going to be wrapping up shortly. We just have a few more to go and let's check out Venus. A bell closer in closer up. Gotcha.

cari ann shim sham

I think you're muted. If you're talking. Yeah, you might want to unmute.

Bye. Alright.

Yes.

Hi, I just wanted to say thank you. Thank you very much to Carrie Ann and Joy, whom I just met in real life last Wednesday, at the closing of the expressionist. Hello, Brooklyn Show with Colin. We spoke, and it was very, very nice meeting them. Delighted to get to know them better. I saw them at the opening, but I really got to talk to them there last Wednesday, and I just want to say I used the Camera like a microscope, focusing in as far as possible to make visible the invisible.

Nina Sobell

Revealing a reality within The process of searching into our mind as into our subconscious. Our realm of the creative process. This work investigates the immediacy of the moment in a consulted state of mind, spontaneously generated imagery Appearing without conventional discourse, but with a nonverbal fluid thought process.

Nina Sobell

And using the camera, the live camera aspect to animate as yet in unanimate forms. Observing a layering process. That is a technically innate tool of the phone itself. You're not making it into anything else except what it is. And it's Deepest core. Yeah. And the music is mine. I guess you imagine that to be true. Yeah.

Thank you.

And I'm thrilled to be here.

Thank you. We're so happy.

Thank you. Thank you.

Cats will eat you stacking blocks. Cats! I've seen you come in and out of the.

Yeah, I'm here.

There you are! Hi!

Hi, yeah, stacking blocks for me, this is about kind of how we're all uploading our Personalities and personhood to The Internet as a digital representation in how all of our information is kind of being represented there, and I feel that what's getting lost is like sort of the in-between. Everything is being represented as Binary data, like Good bad. Your belief system is all there. Interest is all being sort of put into a category. And I wanted a piece. That sort of represents that in how. How we're losing something. But it's also beginning to look a lot like your life to us.

Matt Semke

That's about it. Thanks for having me.

Thank you. I love the movement in this piece. It's just like really. Kinesthetically pleasing to me. My body. Thank you so much for the word. We're so thrilled to have you. Save my world by flower. Not sure if flower's with us today. But this piece is really beautiful to zoom in and look at.

cari ann shim sham

And here we have face space. By Jodi Zelen!

cari ann shim sham

Really fun, animation. Colin Goldberg.

Hey, Carrie Ann, I'd like to thank you guys for putting this show together and creating this great VR installation. It was. It was awesome to meet you both at the Museum in Brooklyn, and to be able to get to know you both a little bit. So I'm zooming in from North Bennington, Vermont, which is a world away from the Bronx in New York, where I was born. And this piece is called Organic Gravity. It's moved through multiple media over the last 25 years. And it was originally composed in adobe illustrator back in 1999, as a vector-based digital drawing. When I lived and worked in Manhattan's East village.

Colin Goldberg

So the piece was animated over 20 years later over the course of the pandemic, and it was minted on the foundation platform to the ethereum blockchain as a 23, second audio visual nft on November 23, rd 2022 Organic gravity is one of 23 pieces in an augmented reality. Art book I recently published called Metagraphs, and the book was released on Amazon on September 23, rd 2023. Clearly the number 23 is a significant number that features heavily in my work.

Colin Goldberg

And I'm interested in numerology. I was actually born on December 23, rd in 1971, and my daughter Aya was born on June 23, rd 6, 23, at 6, 23 pm. So I feel like I have a cosmic connection to this number, and I incorporate it consciously into my work. The book links these 20 year old digital drawings to their audiovisual counterparts on the blockchain through a transformative technology of augmented reality, and that allows the works to animate directly on the book's pages. When viewed through the artif, 5 mobile application.

Colin Goldberg

The piece was selected from the 23 pieces in the book by the exhibition's curators, Carrie, Ann and Joey. Each AR in the piece in the book is preceded by a Haiku and the Haikus relate each piece to my personal history through a process of automatic writing. I'm interested in Haiku poetry as it relates to my mixed heritage being half Japanese and half Jewish. The haiku that accompanies this work reads as follows. The laboratory of the Rainforest parrot, where the big cat prowls.

Colin Goldberg

So organic gravity was one of my father's favorite pieces, and it hung in my parents house as a large print on canvas. For many years my dad passed away in 2021. The year before this piece was minted. He was an organic chemist, a topic that he taught for over 40 years. It was coincidence, or perhaps serendipity, that this piece that he loved was titled Organic Gravity. When it was composed in 1999, the laboratory reference in the Haiku directly relates to my father's life of science.

Colin Goldberg

Interpreted the forms to the bright. He interpreted the forms and the bright colors of the peas to a parrot in the rainforest. The big cat and the audio and Haiku emerged from my subconscious as the piece developed. And I find that my understanding of my own work is slowly revealed to me the further I get away from it. That's it.

Beautiful.

Thank you.

Where the big cat growls.

cari ann shim sham

Here we have dream by day, by Iris pan. This is actually like a game experience and built in unreal engine. I believe we had the pleasure of meeting Iris a couple weekends ago during one of my tech labs that I host at Nyu. And they're out working in Silicon Valley for Amazon while doing art on the side. Here we have Moonflower 2 by Karina Ali Pavsky. I'm not sure if you're here. I don't know if they could make it today. Because he. Haunting jellyfish work. Burn by violet Bond. Violet is one of our longtime Mauna artists coming out of The outback of Australia and working in the wild and using technology to express the wild we love violet and Violet is definitely sleeping right now.

cari ann shim sham

This work is A generative artwork that's available on the highlight platform. The artist is Stefano Contiero. This work is sort of interesting. You have to see it, either in the museum space I would recommend, or on the platform itself, which you can get by opening the link. It moves. It has words as you scroll through the artworks, the words disappear and reveal kind of that underlaying abstract artwork. This is also available as kind of like a free mint. So for a couple pennies of gas. You could pick one of these up.

cari ann shim sham

It's pool work. That's the example that the museum. Susan. I know you're here, Susan. Yeah.

It's not a. That's your voice. But yeah, I'm here. Okay, Hi, yes, thank you, everyone, and particularly to Joy, who helped me get back on my nft into the nft world. I come to you from Eugene Oregon in the Willamette. Beautiful Willamette. So Pajaro, the audible, began in a late night, insomniac Turkish. I started a project in the evening, and then I couldn't stop. I was so fascinated with my 1st time use of Story Z. And using distressed Fx. And I got absorbed to see how they could change the tree image.

Susan Detroy

The work has the recurring traits of the usual ways I create. I usually start with the photographic base and develop this other story, and I can add and place elements on top of each other, build a final still or moving piece. It uses one of the 3 paths that I've worked in, which is the natural world around me. And I'm focusing.

Hi about 15 min. Maximum.

Okay. The natural world of bird and tree and it reflects my lengthy background because I studied botany and systematics. And I'm an avid bird watcher. When I completed the way I was communicating about this Fragility and the beauty of birds and trees and The current theme of the threat to their existence, and The original tree image generated on the evening walk at a nearby bird refuge, using slow shutter, and the bird was placed in the piece with doy Z, and the audio is from The capcut sound like library.

Susan Detroy

The apps I use to instruct my piece are snapseed X story, Z. Clip to comic iPad, editor, and capcut. My most favorite video current, most video editor, and the title is in Spanish that references my years studying and living in Mexico and Spain. And okay, I had to read it, but thank you.

Thank you so much. I can look at that bird all day long. And I have been lately. Thank you. Yeah. All right.

cari ann shim sham

We have help by Kathleen Dobrowsky.

cari ann shim sham

Kathleen, are you here? Would you like to speak?

cari ann shim sham

Maybe they stepped away, but they might have stepped away. So we'll come back if they if they come back and this work by. It's called head Study, 2020 by Adelfino Corino.

cari ann shim sham

Really stunning work.

cari ann shim sham

This is one of our Mauna artists returning, I dreamed myself a landscape. Will I ever wake up by? You know the news. Vinaya? Are you here? Would you like to speak.

Hi, can everyone hear me? Yeah. Hi, everyone. Thank you so much. To Mona, to Carrie and to Joey for this. Yeah, I work a lot with the exploration of the selfie. And. So for me, sometimes that could be like very representational, very figurative. So I felt like it's forming more like the emotional aspects of what self looks like. So that's why I made this piece, and I titled it. I dream myself a landscape and attention has been. Knowing, like this water kind of like this colorful garden, and plant far away in another dimension that was really. To have it. Be kind of library and find different ways to imagine how we can.

Lineadeluz

Yeah, how we can embody the emotion. I'm very excited to be among such amazing works. And just to hear everyone's experiences and just to hear them in the face. It's really, really exciting. And I think everyone push me amazing. Thank you.

We're so happy to have you here with us. God figure 0 1 AI together there by Sky X. Really gorgeous generative artwork.

cari ann shim sham

And over here. We have this fun. Car. Charger 8. By Ahmed Esh.

cari ann shim sham

They were on earlier. I think they had to leave us.

cari ann shim sham

And then up above us.

cari ann shim sham

Here we go. We have chapter 3.

cari ann shim sham

Bye, Galina Shevchenko! Hi!

Hi.

Hi.

I'm here. Well, I'm so thankful to be included in this exhibition. It's so amazing to be here in the local cathedral. I've been part of the Lou Critiques 6th group. And now I'm in the 13th group, and I'm really thankful to Renata Genita that I met during her artist talk, and she mentioned that show to me. And they've talked about expressionism. And I really like what Infuse the ideas of expressionism. Following the Instagram and going some of that. I've been. Your salons. I think it was June when I could make that.

Galina Shevchenko

So yeah, this piece I was so I was so mesmerized when I saw it like soaring in the cathedral. It's part of actually, like a bigger Virtual space that I made that's called ornamental uncertainty sequencing the patterns that people have my parrot screaming on the background. And so the space that I made I did last November. Then. Like all this conflict, we're emerging, and in the midst of like Russian Ukrainian conflict. And I'm like a former Russian citizen with a Ukrainian root. And last name. So, and you see these people that are very close together, like tearing each other apart like Armenians. And I take a Chinese, Arabs and heroes, Ukrainians and Russians. So I wanted to create this sort of sanctuary.

Galina Shevchenko

Beautiful, steepest, steady game falling for contemplation, non action. And this is my virtual spaces out, and it's 1 of the monsters that exhibits it. That kind of exemplifies this Humidity and welcoming humidity and. Awesome hoping Love so. And it's very digital, but it's also very tangible to me. So it's an animated gift, and the space is such a beautiful place for it when it can just door, and you could see the delineation of it and its expression, and repeat your wife.

Galina Shevchenko

Hoping for Excuse me, wow! Thank you.

Thank you. So we conclude all right. And we just want to thank everyone. For taking part in this wonderful.

I just wanted to know. Is Lee Day. Here still was Lee Day Lee Day part of the show, or I saw him in the very beginning. I didn't know whether we missed his work. No Lee Day, no.

Yeah, yeah.

Okay.

So thank you everyone for Mauna and Ts wild and newfangled Techspressionism. We're just so happy to Gather together with you, and this space is now open for you to come into and or hang out in the salon. And thank you, Colin, and thanks for letting us go a little bit longer than normal. We just wanted to hear from all of the artists. And we celebrate you. Yeah, wonderful exhibition. I definitely have to have a deep dive into some of the works, even though I've seen them a bunch. It's so fantastic, the community, the quality of work, the connection to be able to kind of share, story, technique and so on.

cari ann shim sham

I guess there's no exhibition for next week. We've got to come up with a topic. So I don't know how we're doing that, and so on. We're not moderating it, and we're not throwing in execution. We'll turn it back to you, Colin. You're in charge. Thanks. Everybody join us in the join us in the loop room. Okay. Awesome.

It was great.

Awesome. Thanks. So much, guys. So yeah, you know I will. I will actually have to be leaving fairly soon to pick my daughter up from elementary school have a dad duty. So I'm gonna make Carrie Ann the host of the zoom. If that's okay before we sign off and that way, you know, if anybody has any difficulty logging into the loop room. You guys will be able to you know, still connect through zoom. But again, I really want to thank you guys for putting the show together. It looks amazing.

Colin Goldberg

And you know, as far as next month the salon goes. I've been in correspondence with Malavika, who's in India, and she's been organizing a number of collaborative exhibitions with Indian students, high school students, and around the idea of Techspressionism where they use computers and collaborate together. So she asked me if I'd be interested in bringing them in inviting them in for the November salon to share their work. That they did for a particular project, which I think is a great idea to open it up to younger artists, and maybe have the topic be based around the idea of education.

Colin Goldberg

Anyway, it's pretty open ended right now. But that's kind of a general scheme for the November salon, and I know that the December salon topic has already been decided upon which is going to be Renata and Karen LaFleur talking about their upcoming show at the Cape Cod Museum of Art of their expressionist moving image works which is super exciting. So again, you know, like I welcome all of you guys and anyone watching this as a recording on YouTube to visit the mountus site. It's MOWN. A.org and check out the show. And yeah, thanks again, everyone. And for all you guys who contributed artwork, it looks amazing. So with that being said, I will stop the recording in 3, 2, 1, and cut.