--- type: presentation number: 9 title: Technology and Art with Colin Goldberg date_recorded: 2021-02-24 date_published: 2021-03-09 video_id: 8aQDDA-u0io url: "https://www.youtube.com/watch?v=8aQDDA-u0io" duration_seconds: 5938 moderator: Helen A. Harrison speakers: - name: Colin Goldberg country: North Bennington, VT USA start: None - name: Joyce Raimondo country: East Hampton, NY USA start: None transcript_source: whisper-large-v3 languages: ["en"] flags: - speaker_index_missing --- ## Helen A. Harrison [00:09](https://www.youtube.com/watch?v=8aQDDA-u0io&t=9s) Many, many artists have gone against the grain, so to speak, but I guess in the late 19th, early 20th century, the most famous of them were the post-impressionists. People like the old monk Goulgain, who were trying to find a way to visualize feelings, emotions, sensations, things that were not visible. They didn't like Impressionism, because it was looking at the world and trying to interpret what was visible, what was seen, especially using light, trying to translate light into a painterly medium, but the post-impressionists and the folks in theooks, the same thing, and the first and the only of the first, the first-gen of the wild beasts who followed them, notably Matisse, wanted to do something that was more subjective, that was not about what you saw but about what you felt about what you saw. So that is really intangible of course, it varies from person to person, it has an emotional, subjective, intuitive component, and how do you translate that into visual terms using just paint or some other medium that is basically a flat surface. So for them the way to do it was to distort, that the distortions had a more emotional character to them and of course they were roundly criticized for this. The term les fauves which was applied to them in Paris was not a compliment, it means wild beasts and the people who were describing it in those terms were not! Really interested in it. They felt that they were just splashing paint around and making a mess and that it was a violation of all the standards and mores of the time and of course it was, they weren't wrong about that. Expressionism as a movement was actually born in Germany and the first manifestations were in around 1905 in Dresden when a group called De Brucke, the bridge, was founded by Haeckel, Kirchner, and Schmidt-Rotloff and others, and they were very anti-academic and they actually looked back to the folk traditions of the so-called primitive artists who had no professional training and in fact they had no professional training either. Their work of course was very controversial and they rejected the whole concept of bourgeois society and people collecting art in a very high-minded way. They wanted to get down below the surface and not deal with surface appearance but deal with the emotional undercurrents. There was another group in Germany a little bit later, they booked their Blau Reiter, that was actually led by Kandinsky, a Russian painter whose work was later described as abstract expressionism by Alfred Barr in New York, in Wellesley College. That was the first use of it, 1929, when he applied that term to Kandinsky's work. But the actual coinage of abstract expressionism was much earlier, was in 1919 in a magazine in Berlin, and the writer Oswald Herzog, he was reacting against figurative expressionism. As if that wasn't wild enough, he felt that was already bourgeois and that art really should be about spiritual matters. He was picking up on Kandinsky and his argument was that the intangible dimension of art, the way that music expresses emotion, that art should be analogous to that. It should be pure creation, it should be non-objective, it should not have an outer stimulus, it should have an inner stimulus, and then you would invent the means to make that visible. Well of course that's what technology enables us to do. I mean Colin can explain it much better than I do. He said, if you want to create something, you have to create it. And I think that's the key to the idea of the art. And I think that's the key to the idea of the art. Because after all, he coined the term to expressionism, but the idea was to use the technological means available to us today in the 21st century to achieve these ends, to get a subjective emotional content into your art using the latest means available. So I'm going to turn it over to Colin, or are you going to, I'm going to give it back to Joyce first, and then she will introduce Colin. ## Joyce Raimondo [04:43](https://www.youtube.com/watch?v=8aQDDA-u0io&t=283s) Colin Let's focus now on the national landmark here in East Hampton, New York, the home and studio of Jackson Pollock and Lee Krasner, who are two of the most famous abstract expressionists, painting here in the 1940s and 50s, among other abstract expressionists, and each artist had his or her own style and own technique. Now with Pollock, as Helen Harrison said, he said that my method is direct. And it's, I would say it's a simple technology, right? Now we usually take the paintbrush for granted. The paintbrush is a technology that was invented. And some people say it was invented 300 BC in China. And then it was brought over to Italy. Well Pollock rejected the paintbrush. So that's really what happened. Now you've got to remember that Pollock was very radical. Pollock is known for drip painting. So Pollock is not actually touching the painting physically. He's dripping paint above the artwork, placing it on the floor so that gravity pulls the paint down. He's an action painter. He's moving all around the canvas as he works and his movement is captured by the flow, the literal flow of the paint. It's really felt, as Helen said, it's coming directly from his inner world and being expressed onto the canvas. He's not working from a sketch or a preconceived idea. So it's deeply personal and deeply intuitive and felt. That's not to say the technique is simple, but that's not to say that the paintings are simple. The paintings and the compositions are actually complex. So here he is, as I said, you could see he's an action painter. Into the painting. And he said, I want to feel like I'm in the painting. So there he goes. He actually is in it. And it's a very athletic movement, almost like a dance. And here's an example of his iconic drip painting. And you can see it's very these the one the paintings that most people you know, remember him by are very large, and 100% abstract. He's not copying anything outside of himself, although it might remind you of different aspects of nature or emotions. This one is called autumn rhythm. But Pollock did not start out with the title autumn rhythm and then painted. He would title his paintings after they were done, or sometimes people would even give him suggestions. What I love about this painting is the viewer is looking at the painting. And she becomes part of the artwork in modern art. The viewer completes the painting, because the interpretation is completely subjective. It's all about your perception. So there's Lee Krasner, Jackson Pollock's wife. She was responsible for managing his career and she did a great job at that. And that helped him become famous in his own lifetime. And she put her own career on the back burner to promote his career. But she always continued painting. And she painted in the Barnes studio where I'm going to take you in a moment. She's also an action painter and her technology is also very direct. She sometimes got up on a ladder, but she didn't really prefer that. She wanted to use her whole body like a dance. And there was a level of spontaneity. Right? And again, you're one with the painting. You don't have a plan. So if you got up on a ladder, it kind of interrupts the flow. So these are examples of her action painting. And here's an unusual technique that she used where she would rip up her old painting and paint it. And she would put her hand on the painting and glue it in a new composition to create a collage and then paint back into them. This one is called the city. She would also cut up her paintings and use those elements as well. So these are two artists who are, in my opinion, one of, I don't know, maybe I was going to say the best, but I can't really qualify it. But I would say for me, personally, they serve as an example. Of what is creative thinking. Right? And Colin is going to show us his creative thinking and how he took the abstract expressionist ideas of this very personal direct way of painting and combine that with really high end technology, digital technology and whatnot. So all this happened right here in this barn in East Hampton, New York. So I'm going to show you a picture of this. I'm going to show you around the barn. Okay. I know there are people from all sorts of places in the world. So before I show you the interior of the barn, I do want to step outside so that you can see how beautiful the property is and get a feeling of the actual location. So we are located on the end of Long Island, 90 miles from New York City. Perfect for an artist because you could hop on a train and be right here. And then go back to New York City. Whoa, windy. So Pollock and Krasna moved here from New York City. This is the Springs. This was fishermen and farmers. Why aren't one and one for clothing? The barn was originally over there. Yeah, this barn was over there. Somebody's unmuted. Actually, this is going to be used for the fine arts. Or is it? No. Okay. And here's the barn where I was just sitting in. Okay. Because your trains don't stay in the hell of the planet. Yeah, but they don't have the same health of the planet. Here's the house. Last time we just submitted the names of some of the trade models. We might go into the house at the end, but the focus of this tour is on process. So we're going to mainly stay inside the barn. For the fine art ones? Okay. Okay. So what's special when you come to visit the Pollock site is that everything is not roped off. You can actually walk right into the barn and see where Pollock and Krasna's masterpieces were made. So I'm going to put on these little foam slippers and we're going to have a walkthrough. Now. Pollock. Pollock. So the work in the house. Time. Jackson Pollock died at the age of 44 in 1956 in a car crash. He was driving and drinking and Lee Krasner used the studio after his death. Before his death, she painted in a little room upstairs. So many of these supplies you see behind me are actually Lee Krasner's because she was here until 1984. So here is her painting cart, her slippers. And here is the now famous Barnes studio. So you can see Jackson Pollock's drip painted floor, evidence of his masterpieces. And this floor is not a work of art because Pollock was very intentional about his paintings and his technique. These are just accidental random spills and splatters. But it's a lot of fun to come in here and just look at the floor. It's just fun. And also it really gives you an idea idea of the process rather than the end product you know hanging in a museum where it's so pristine you get a feeling of trial and error when you come in here and of course also the nature that surrounded them and although they didn't copy nature it did give them inspiration and we have historic photos on the wall like this one taken by hans namath and I'm going to show you a video by the same photographer, filmmaker of Pollock actually painting and speaking about his technique. So very unusual. He's not using art paint. He's using house paint. And when he would use the brush, he would use it more like a stick, letting the brush, the paint flow off the brush. He also used basters that you cook with and he would squirt the paint. From the basters. So new technology. And he would use the stirrer as a tool to drip the paint as well. Now, this is not to say that Pollock never in his career used a brush. That's not true. He started off painting representational things. You can see working at the Art Students League with Tom Benton painting traditional subjects. And gradually he moved into the realm of imagination and abstract art gesture and then gradually eliminated the paintbrush. But he did return to it in some of his artworks after he did the pure drip painting. OK, so I would like to show you a video. OK. So I'm going to show you a video of Pollock so you can get an idea of his technique and let's hear from him what he has to say about his technology. So I'm going to do a little screen share. Bear with me. And here we go. ## Unattributed [15:34](https://www.youtube.com/watch?v=8aQDDA-u0io&t=934s) OK. So this is a video of Pollock painting traditional subjects. And here we go. OK. So here we go. So here we go. This is a video of Pollock painting traditional subjects. This is a video of Pollock painting traditional subjects. And here we go. Here we go. OK. So here we go. OK. Work from all four sides and be in the painting, similar to the Indian sand painters of the West. Sometimes I use a brush, but often prefer using a stick. Sometimes I pour the paint straight out of the can. I like to use a dripping, fluid paint. I also use sand, broken glass, pebbles, string, nails, or other foreign matter. A method of painting is a natural growth out of a need. I want to express my feelings rather than illustrate them. Painting is just a means of arriving at a statement. ## Verneda Lights [17:25](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1045s) We are going to... ## Unattributed [17:26](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1046s) When I am painting, I have a general notion as to what I am about. ## Joyce Raimondo [17:32](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1052s) We're going to stop there because I want to make time for everything. You can find that video on YouTube. It's by Hans Namath. And there's another video of Pollock painting in the barn as well, which has no sound, which is more authentic than the one that you just saw because that video was a little more staged. Not paint outdoors. He painted in the barn. Okay. So let's see. Here is one of Pollock's finished paintings, which there are many, but this is one of my favorites. Hang on a minute. So Pollock said, I want to express my feelings rather than illustrate them. What does that mean? In your opinion, what feeling could this show? Or anything else that you see? How about Colin? We'll take Colin. What do you see in this one, Colin? You want to unmute? ## Colin Goldberg [18:41](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1121s) Yeah, can you hear me? ## Joyce Raimondo [18:43](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1123s) Yes, and there's no right or wrong answer. I don't mean to put you on the spot, but there's no right or wrong answers. Everybody sees it completely differently. ## Colin Goldberg [18:54](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1134s) Yeah, I mean that piece, it seems a little more light and lively than a lot of his other work. I haven't actually seen that one. But the choice of colors, you know, makes me think of you know, a little bit of sort of, you know, an optimistic feeling, I think. ## Joyce Raimondo [19:16](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1156s) Yeah. How about, I see someone with the hand up, you have like a purple item on your head. What would you like? What would you like to say? Unmute, please. ## Verneda Lights [19:29](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1169s) I see a decomposing forest floor. ## Joyce Raimondo [19:33](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1173s) Yeah. I see ice skaters, but the ice skaters aren't there. I see the movement that they made on the ice. So that's what I meant when I said the viewer completes the painting. It's truly subjective, which is what these modern artists were aiming for. Okay. So, I want to go back into the studio and show tell you a little more about Lee Krasna and also the mystery of why is this Flora Pollock's. If Lee Krasna painting in here till 1984? Why isn't it her floor? Okay. So here's a picture of Lee in the studio. As I said, after one year after Pollock's death, she moved into here and she painted her initial grief and bereavement. And then you start to see her paintings become more colorful, bright colors, sometimes inspired by nature, floral, it suggests floral patterns in a very abstract way. So you can see all the artworks behind her there. Those were painted on the wall here. You see, see her drips and splatters. In fact, the one that I showed you in the photo she painted right here. And then you start to see her paintings become more colorful, bright colors, like her her death that this would become a museum and a study center run under the auspices of Stony Brook University. Okay, so what does this have to do with technology? I want to show you I don't actually need the mask anymore. I want to show you a really, really quick PowerPoint presentation to show you how artists following the Abstract Expressionists integrate technology with painting. So when we're using the term technology for this talk today, we're not really including including video art and movies and things of that nature. We're really talking more about a narrower subject about how does painting meet with technology, okay? And this is a broad topic. So these are just examples to open up our creative thinking. So, of course, many artists use projectors and this is a good, it's just an interesting story that most people don't know about. Willem de Kooning had this projector and he lent it to the painter Franz Kline. And Klein actually used this projector to create these abstract images that were actually derived from images of chairs and in particular rocking chairs. So you would look at this painting and would look at it and think this is just complete spontaneity, right? This is just coming right out of the artist. But it actually combined technology with the artist's mark. And there's an example of the finished painting. This is the artist Robert Rauschenberg who's working in the 1950s in New York City. And you can see in this photo he's starting to integrate into the paintings very unusual materials, found objects. He created combines where he would make sculptures using all sorts of things he found on the street. And he would also silk screen or transfer images onto the painting. This is later in his life he moved to Florida. So here's an example where you could see similar to the abstract expressionist. You see the artist's mark, right? You see the brushing. You see the dripping. But you also see layered into the painting silk screened images. So Rauschenberg is actually combining popular culture, which is the art of the artist, images from magazines and newspapers with this very, very personal aspect of the paint, the expressionist paint coming out of the artist, like Helen Harrison was saying. He's considered a pop artist in some ways because he is using popular culture. Now we have Andy Warhol, who is really, in my opinion, the polar opposite of a Jackson Pollock. Because, he really is not speaking about his emotions or even the artist's mark. He's silk screening at times images onto the painting or eventually creating silk screens that is the art, the print itself. And he had the factory in New York City where many artists would collaborate with him. Okay. Not only did he make paintings and prints, but he also is known for films and performance art, all sorts of things. And he was also known for his work in the art world. And he was also known for his work in the art world. And he was also known for his work in the art world. And he But what's interesting about Warhol, if you picture Pollock, he's alone in the barn. It's highly individualistic. There's no one intervening. He is one with the painting. Andy Warhol is breaking with that idea of the abstract expressionist. It's not about individual expression anymore. It's about collaboration and popular culture. So this is at the Museum of Art. And it's a very, very series with different colors in the background so you could make multiples this way eventually he doesn't even paint into it becomes pure print making and he's calling attention to the print making here right you can see the variations of the print and we all know I think this these iconic images of Marilyn Monroe created by Warhol and of course he did many celebrities and things things that were very popular at the time, like the famous Campbell soup can. So. Is actually questioning this idea of the artist's mark. And he has no problem saying art is business and business is art. And make multiples, I don't even, he could design it, but he doesn't have to actually be in the studio creating the image. Okay. These are great examples by David Hockney, the famous painter. Years ago at the Met, it was pretty radical to see iPad drawings alongside his paintings in his retrospective. But look at how much leverage, or you could say, or how much mark making he got out of the iPad. It looks like a lot of work. And you can see the famous painting, I just like the way that it also looks is it? He's actually using a brush or a pencil, you can see the artist's mark, even though it's an iPad. So, to bring it up to date, this is Eunice golden living and working in East Hampton, and I love you. And I really do, I know the show. I just so like the way that you do the work, I just I just nab it. Is reinventing herself. So technology is not just for young people or the new generation. So Eunice, working from her painting, digitized it and then created these new artworks that completely stand on their own, changing the colors, changing the composition, and so on. Okay? So those are just little tidbits of, well not tidbits, Andy Warhol and these artists, but the subject is so broad. So those are just some key ideas. Now we do have with us today Colin Goldberg and it is an honor. He's going to tour us through a studio on the North Fork of Long Island. And Colin coined the term Techspressionism in 2011 and he'll tell us more about that. And he's going to share his website with us and his images. And Paul, excuse me, Colin also was the recipient of the Pollock-Krasner House and Study Center grant. I mean foundation grant. And he has a very personal relationship with the Pollock-Krasner House. So he's the perfect fit for this talk. So Colin, would you like to take it away? Let me, what just happened? Okay. Done with that. Yeah, so Colin, whenever you're ready, I'll spotlight you. ## Unattributed [29:17](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1757s) Okay, great. ## Colin Goldberg [29:21](https://www.youtube.com/watch?v=8aQDDA-u0io&t=1761s) So I guess I will just open up with a thank you. Thank you, Joyce, for inviting me to come on the zoom and talk a little bit. And I like to also thank Helen, you know, for her support in what we're doing with Techspressionism. She actually was the first person to write about it, back in 2011. I actually came up with a term as a title for a solo show that I did out in South Hampton at Four North Main Gallery, which is now Peter Marcel's space. But back then it was basically a gallery that artists could do self-produced shows at. And for many years, I used that term to describe my own work. And Helen actually wrote a catalog essay for that show, which was really the first written reference to Techspressionism. And since then, she's really helped me develop it into something that's become broader. And I'm just going to share my screen really quickly here. Okay, great. Can you guys see my screen? Yes. Okay, great. So this definition, of Techspressionism, an artistic approach in which technology is utilized as a means to express emotional experience, is something that Helen helped craft as part of an artist group that really started last year. And it kind of started when I saw that other artists had started to use the term to describe their work. And I kind of teamed up initially with an artist that I had worked for out in the East End as a studio assistant. And I was on a show that I was on. And I was on a show that I was on. And I was on a show that I was on and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, and I was on a show that I was on, 35 countries, I believe, at this point. And we have a site up at Techspressionism.com with all the different artists. And I just wanted to share this last piece of news that I got about a week and a half ago. We put a proposal into the Southampton Arts Center, which is the old Parish Art Museum space in Southampton Village. And that location, Southampton Arts Center, is going to be the world's, it's going to host the world's first physical group exhibition of Techspressionist works. It's going to open up in April 2022 and run through June or July of that year. So that's a very exciting project that I'm going to be co-curating with an artist named Anne Spalter, who's also a writer and a collector. She actually taught the very first digital class. She's a professor of design and design at the University of New York. She's also a professor of design and design at the University of New York. She's also a professor of design and design at the University of New York. Anne actually also, Anne and Michael Spalter have a private collection of digital work, which is the world's largest private collection of digital art. And that show is going to include selections from that collection going back to the 1950s. So it's really going to span the full historical spectrum of how the computer world is going to be. It's going to be about how technology has been used within the fine art context. So I'm very excited about that and look forward to it. We have a couple other online shows that are going to be happening prior to that physical exhibition in 2022. But you could check out Techspressionism.com. We also basically used Instagram as a way to locate our artists by asking artists to use the hashtag who are interested in the concept and relate to the concept. And at this point, actually last weekend we just hit 10,000 posts of artists around the world using the hashtag which is pretty exciting. So to relate it back to my work and how it relates to Pollock. You know I had first been to the Pollock house. When I was an undergraduate student, and actually met Helen through her husband Roy Nicholson who's an amazing painter, and he was the head of the art department at South South. And I grew up in Southampton College where my father taught for many years I grew up out in the east and along island. So, I did a an internship as an undergraduate student, and Roy was my advisor and he actually connected me to Steve Miller, who I worked for as a studio assistant and that was my first experience, working with a you know practicing artists, and it was also a really amazing experience I got to learn silkscreen printing and worked alongside. Another assistant named Robert Bardin who printed for Andy Warhol for many years, and Steve is part of the Techspressionist group as well. So, this is a video of me, creating a ground, which is basically India ink on linen, and it directly relates I think to the way that Pollock talked about direct painting. And I also generally work with. I work horizontally when I'm painting grounds. It's not always oil paint. Some, I mean it's not always Indian rather sometimes I use oil paints or acrylics, and some of the, some of those media actually do paint vertically like in a traditional way but this particular medium. I paint on the ground to have this sort of liquid approach and then once. Basically the ink dries. I photograph the ground, and I import the photograph into my computer. And this piece in particular is part of a series of paintings that are about coven, and they were inspired by a trip that I took with my wife and our six year old daughter to get tested, about a year ago early on in the pandemic. So I took a bunch of photographs. Much to my wife's chagrin. She thought we were going to get in trouble for me taking pictures. You know, but I thought it was just remarkable to see. So these are the finished pieces, and, you know, just seeing these guys in camo and white tents, it just felt extremely surreal, and it made a big impact on me, and I was a little hesitant to incorporate this content into paintings but it actually helped me process, the really complicated emotions that were happening at the time, I was, you know, experiencing this. And this work also relates to some of the work that Joyce was showing that Rauschenberg and Warhol did in terms of incorporating photographic imagery, and these images are printed directly onto the painted surface so what I did to create these was I actually masked off areas with tape and painted white gesso on top of the areas that I was going to be printing the photographic material onto. And then I ran it through my printer essentially and that's generally how I produce my work is I paint, and then I print on top of it. We're using a large format printer. This is a 44 inch Epson that actually purchased with funds that I got from the Pollock-Krasner Foundation grant back in 2014. And the vast majority of my work is used, uses this piece of hardware in the production. These are some small studies. These are some small studies. These are some small studies for the larger pieces there. And then related to the story about Franz Kline which is one of my favorites in terms of how technology is used in art. This is one of a series of drawings that I did this is a pencil drawing about 30 by 22. That was created using a projector, and the form was drawn digitally in Adobe Illustrator, using sort of wireframe wireframe tools. And then projected and then I executed it as a pencil drawing by hand. So this piece Pollock's floor was actually based on pictures that I took on one of my very first visits to the Pollock house and it's, you can see it's repeated. The floorboards in perspective repeated six times, and then there's drips which is sort of a direct reference to Pollock, as well as some spray enamel and graphite drawing. And then there's drips which is sort of a direct reference to Pollock, as well as some spray enamel and graphite drawing. Sadly, like this piece and a bunch of the other work that I did when I was an undergrad was lost, but it was documented and a print of it actually resides in the permanent collection of the Pollock-Krasner House and Study Center. This is another piece from that series called in process, which is incorporates the floorboard image, as well as a picture that it took of Pollock's grave which is a big glacial erratic boulder. That's, that's located in East Hampton. And this is also a direct stylistic reference to Warhol in terms of the repeated photographic image in process is a little bit of a pond a visual pond it's not quite CMYK process printing but that's the idea. And I also, you know, come from a background where, like Warhol. A lot of my initial training was in commercial art, I know that he did commercial illustration. I've worked within commercial design, pretty much since. I've worked within commercial design, pretty much since. I graduated as an undergrad I was a painting student at Binghamton, and I actually attended Southampton public schools. So, had a great art teacher out there in Southampton, Bob Muehlenhausen, who anyone who went to Southampton High School would remember fondly and he's part of our Techspressionist group as well. He actually incorporates photographic content into his paintings. And then this piece is one of the first pieces that I actually. Incorporated inkjet printing directly onto a painted surface and this is in the permanent collection this particular painting is in the permanent collection of the Pollock-Krasner House and Study Center, and you can sort of see an obscured image of Pollock's barn there. And this is actually a boulder in his backyard. And the paint is this sort of latex paint. That's also a house paint similar to Pollock. That particular type of paint. Seemed to take the inkjet print pretty nicely. And there's a resin topcoat on it. And this is sort of a more recent piece from that series called Photo Constructs, which are very similar in terms of the combination of photograph and painting to what Rauschenberg was doing but none of the work is none of the imagery is appropriated. That is all of the imagery from my paintings that include the images that I incorporate photographs are my photographs and generally reference either a particular feeling like these all sort of have sort of a, you know, just as then feeling to them contemplative with images of clouds and different images of natural phenomena like waves, and then some of the photographic content directly references life events like my visit to the Pollock House for instance. This is a recent piece that I'm going to show you. And I'm going to show you in the studio called Invictus. And this incorporates probably six layers of print and paint onto it. There's multiple layers of print and paint. And drawing on the screen there that's odd. But the. ## Joyce Raimondo [41:35](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2495s) Excuse me, Colin, I'm sorry. Whoever is drawing on the screen. I'm assuming you're doing it by mistake. I'm not aware. And please stop drawing on the screen. ## Colin Goldberg [41:47](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2507s) Yeah, I'm not sure even how that's possible. But at any rate, this piece basically references a poem by I believe William Henley is the poet's name that my father had been reciting prior to his passing, he actually passed away last week. And, you know, the work was created over the course of a time period where he was suffering from dementia. So, you know, like Pollock, I feel that my work doesn't illustrate my feelings you know it sort of expresses my feelings, and I studied under an abstract expressionist painter by the name of Angelo Ippolito, when I was at Binghamton he was a second generation abex painter that was originally from Italy. And he used to say that his work was about paint, and that it was somebody else's job to figure out what it was about, you know, and I actually really liked that explanation. A lot of times when I was in graduate school we would have critiques, and I would say well my work is about. It's about my process it's process oriented, and a lot of the students. My colleagues, they, they weren't accepting of that they wanted me to give an explanation. They wanted me to give an explanation. They wanted me to give an explanation. And honestly like I don't have one. For the most part, you know it's work that's about how I feel and what I want to see in front of me. Other than that you know it's sort of open to interpretation. And I like the idea of the viewer completing the work. So that's pretty much it. This is one last thing so this is a piece that I'm actually going to be showing at Guildhall in the Members Show I'm actually dropping it off over there this weekend. But this is, I brought this up just to show you a little bit of my process. So, I were, I stretched the piece at the end, and like Pollock I title it after it's done. But this piece is called David and the Gucci, and it kind of references my heritage. My mom is of Japanese ancestry, and her mother's maiden name is actually new Gucci. I'm not. I don't have any reason to believe I have. I don't have any reason to believe I have. I don't have any reason to believe I have a blood relationship to his family Gucci. I'd like to think that I might but I don't know that. I do really respect his work. And then there is a star of David actually abstracted out of it my dad is of Jewish ancestry. And my wife's nephew when my wife Donna and I first met used to ask her when she was gonna give that Japanese guy a call, which I thought was always really funny. Really funny. But, you know, it references sort of like my, my mixed ethnicity and in some ways. And then this is sort of to show you so this layer is the final layer of print, which is a digital wireframe that I drew an illustrator, and this is a photograph of the ground, which is pinned up to my studio wall that I photographed, and then ran through my printer, and I'll show you that piece. In a minute when I, when I would do the little studio walk around. Okay. Okay. ## Joyce Raimondo [45:11](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2711s) Thank you, Colin. ## Colin Goldberg [45:14](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2714s) Sure thing. ## Joyce Raimondo [45:17](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2717s) So whenever you're ready to go through the studio I will spotlight you on the studio to ## Unattributed [45:49](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2749s) Thank you. ## Joyce Raimondo [45:57](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2757s) I'm calling we can't hear you at this point. Hang on. Hang on. You're we wait, Colin. Let me spotlight you again, please. Okay, sure. ## Colin Goldberg [46:09](https://www.youtube.com/watch?v=8aQDDA-u0io&t=2769s) Sure So, this is my workstation here. And this is a piece on the wall called bow tie. I believe it's from 2014. And it was created shortly after my wife and I have found out that she was pregnant with our daughter Aya. So this means bow tie means, I believe womb in Japanese and sort of the feeling was that here's these two sides, and then in the middle is this sort of abstract idea of, I guess blood. You know, I never really thought of the literal interpretation but sort of like what connects us. And then I just pulled this up on the screen. It's our YouTube channel so for expressionism, there's a bunch of artists interviews and we also conduct bi weekly salons, where about 30 or so artists from all around the world. Meet up to talk about ideas in the tradition of the artists alone. So, I think it's a really good way to kind of connect with the world. And I think it's a really good way to kind of connect with the world. So, this is my printer here which is an Epson 9800. It's an older machine that I purchased actually refurbished. When I got the Pollock-Krasner grant. And there's some recent paintings hanging here this, this one's called movement. And these are all acrylic on linen, about three by four foot. And this is that piece Invictus that I brought up on my machine. This is another piece that also was titled in relation to my father. It's called Dr. No. So he and I shared a love for James Bond movies, and this piece somehow made me think of that. A lot of times I think of my work as almost Rorschach blocks. A lot of times I think of my work as almost Rorschach blocks. Or blocks rather in that the titles. Generally come after the work is completed. And then I sometimes abstract. The title, like this one is a piece on wood panel it's squash on a birch panel with a resin top coat, and it's called Shakushu, which means tentacles and Japanese. And sometimes I use the Japanese word just so. The title isn't quite so literal. And here's a one of the wireframe drawings that I showed this is so graphite on paper, pencil drawing. That piece was reproduced in the New York Times. For a show at East End Arts Council. A while back, I believe in 2011. And this is one of my most recent additions to the studio. And this is one of my most recent additions to the studio. It's a drawing machine. A plotter essentially called an Axie draw. And it allows you to mount standard drawing implements into it. Roman Verostko is one of the artists well known for plotter drawings. He's actually part of a movement called the algorithmists who use algorithms to create abstraction. And this is one of my first sort of experiments. Not using an algorithm. It was hand drawn in illustrator. But kind of references graffiti art. And it's Sharpie on cardboard. So that's pretty much what I have going on in the studio right now. Happy to answer any questions that anyone might have. ## Joyce Raimondo [50:03](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3003s) Colin, thank you so much. I know I'm learning so much. And I'm sure everybody else is too. So we are happy to take questions. And you can put your question in the chat. And I will read the question to Colin and he will answer it. So let's see if there are any questions so far. Okay. We have a lot of different comments. And of course, Colin, many people expressed their condolences. And as I mentioned before, I can speak on behalf of everyone. And I'm sure you can hear from the entire group. That we really appreciate you doing this at this difficult time. And we, I think as adults, we know that's not the easiest thing to do. So thank you. So question. What inspired you to acquire the plotter? Colin. ## Colin Goldberg [51:05](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3065s) Did you want me to stop the video on the iPad? I'm not sure. I'm back in front of my machine. Okay. ## Joyce Raimondo [51:11](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3071s) Let me spotlight you. And I'll take the other one off. Perfect. ## Colin Goldberg [51:18](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3078s) Gotcha. Okay. So the plotter. Actually, you know, it was another artist. That came into. The, the Techspressionist group. I'm named Peter Bourget. Who is based in Brooklyn. And I saw his work. He was one of the first artists to show up. In the salons. And. He actually modified a vinyl cutter. To hold the drawing implement. And I was asking him. About his practice. And learned a little bit more about the Axie draw. So I, you know, I got it as an experiment. I like to experiment with new technologies. Actually behind me. I have a, an Oculus. Headset, which is a VR headset. That I've been using. To. To play around. I would call it playing around at this point with. An app called Google tilt brush, which allows you to draw and paint in 3d space. Within a virtual environment. I wouldn't. Say that, you know, either the plotter or the. Tilt brush work. Is ever going to supplant. Painting for me. I mean, painting is really my love. And I. Primarily would consider myself a painter at this point, but I do like. I think. I think it's important to have a sense of the art. Exploring new technologies and certainly drawing. Is a big part of my work as well, because all of my painted work does incorporate drawn elements in terms of the digital overprint. ## Joyce Raimondo [52:50](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3170s) Leslie Lewis says. Is your work and tell the truth. Colin is your workspace. Always this clean. ## Colin Goldberg [52:59](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3179s) No. ## Unattributed [53:02](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3182s) Yeah. ## Colin Goldberg [53:02](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3182s) My wife. Gave me a gentle nudge. This morning. Like you better, you better clean the studio up. And actually behind me here. Is our daughters. You know, set up. So she's. She's in the, in the studio quite often. And she actually took the picture of me that was used in some of the promotional material for this event. Where I'm standing in front of the two paintings. So she's a big part of my practice too. ## Joyce Raimondo [53:30](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3210s) Excellent. Okay. Patricia says, Colin, did you say you used. White gesso on top of your prints. Before printing the photographic images. ## Colin Goldberg [53:41](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3221s) Yeah. You know, I mean, basically I would consider. Them paintings ultimately. But I do use gesso. This is a fairly new development in terms of. I'm knocking out the area that I'm going to print the photograph onto with gesso. A lot of times I would print that directly onto the painted surface and it would be a lot more obscured. But for these particular pieces, I wanted to get a very clean print and the white squares. On those pieces and the COVID paintings. Are also hand painted in acrylic. And people have asked me, you know, Is that a mistake? Is that a watermark? Why do you put those white squares on there? And, you know, I don't really know what they represent. I think maybe subconsciously I made three of them because. It's it was my wife, my, my daughter and myself, you know, going to get. The test done. I do like the. The juxtaposition of these sort of hard edge geometric elements against very gestural. Abstract painting. I think I just liked the way that looks. And there was also another instructor who was a colleague of Roy Nicholson at LIU named Yoshi Higa. Who is a photographer primarily. But I remember seeing his paintings one time. And they made a big impact on me in that they had. A. Very simple geometric forms in them. And they were very minimal. And I really never learned very much about his paintings, but I remember after seeing them. They stuck in my head is something really. You know, visually compelling. ## Joyce Raimondo [55:19](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3319s) Well, that's a good point, Colin, because sometimes the artists, you know, there's so many memories and influences and emotions and. You really don't know exactly why, but later you reflect on it. And then the viewer will. They'll come back and say, Oh, this is the best thing I've ever seen. And then the viewer will bring his or her own interpretation. Like those boxes remind me of enclosure, you know, during COVID being contained. So, okay. So let's see. We have really good questions here. Well, this is technical. Do you put the actual paintings through the printer? ## Colin Goldberg [55:51](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3351s) I do. Yeah. So I have the luxury of, you know, owning my own hardware. But I did actually start with a much smaller printer. Like, you know, it was an Epson 1280. And so that was really cool to see how much work was involved in this I believe, which was a super B format. That's 13 by 19 sheets as a maximum size. And I really started by. You know, I was, I just finished my MFA in computer art over at Bowling Green and actually Patrick Lichty who's a co-founder of the Techspressionism group was another another MFA computer arts student in that program with me. That's how he and I met. And so prior to going to grad school, right around 2005 is when I started running paintings through my printer. And it was a smaller printer. But what I did was I actually removed a bunch of the parts because I noticed they were little roller wheels that were leaving tracks on the pieces. So I popped them out. And the printer seemed to work okay without them and that's how that painting that's in the Pollock house collection was made was on this sort of Frankenstein modified printer but most printers now actually are pigment So I often tell people and artists who are interested in exploring digital mixed media that almost all printers at this point are technically archival. That is dye based printers have been phased out. And there's actually a primer called ink aid. That's an extremely useful addition to the studio that allows you to print on almost any sort of material, including brown paper bag, for instance, or you can prime aluminum foil with it and run it through your printer and it'll print onto it. ## Joyce Raimondo [57:40](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3460s) Well, that's amazing. I have a question, Colin, do you ever take the same image and then print it on to different paintings? ## Colin Goldberg [57:52](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3472s) I don't know. Generally not. I mean, most of the digital files that I create for paintings are singular. That is a lot of times I don't even save the file, to be honest, like I'll create something, run the print and then just close it out. Sometimes, you know, yeah, generally, I do not reuse the same image. When it when it comes to anything that's, you know, actually, that's not 100% true. There was a series of work that I did when I was in grad school, in a graduate printmaking class where I created a bunch of digital images and turned them into silk screens in the dark room. And then I printed them as unique works that is each screen print had a different original underpainting and was printed in like a different color. I tried metallics and other things that I couldn't really easily print digitally. So in that case, you know, I did reuse the same, you know, composition, but each piece was still unique. ## Joyce Raimondo [58:58](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3538s) Thank you. We have, we do have quite a few questions. So I'm going to see which ones are somewhat similar. Someone asked what kind of emotions Do you hope your works inspire in your viewers? I think you kind of answered that. But do you want to? ## Colin Goldberg [59:17](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3557s) It's, you know, honestly, I don't hope for any particular response. You know, I'm interested in hearing the responses, but I feel like that's a personal reaction that is up to the viewer, but I do really find it interesting, where people see things in the work that was not necessarily intentional, like, you might, if I just share my screen really quick, because that just made me think of something. So, so there's a series of pieces pieces that I have. Let me see if I can pull up a browser here. So the first real digital drawings that I did were back in 99 I started there, they're called the I call them the my Metagraph series because to me, the, the actual art is not the output it's not the animated manifestation. It's the, the, the digital drawing itself, which is code essentially these are all drawn in illustrator, and you can actually open the files up in a text editor and see the code, which was originally an EPS file for each one of these drawings this was done in 99. But the thing that made me want to bring this up is that there's a particular piece in this series. This one, which, when I drew it was untitled. And more than one person actually said to me, is that the Virgin Mary. And I thought, you know, no, but it just struck me as very strange that such a specific reference, you know, would be would be derived from this. And, you know, that's something that always interests me about abstract art is, is what people see in it. And just the fact that so that the title ended up being kneeling icon. Because of the idea of a religious icon but you know it just really was something that made me stop and like take notice you know like that. There would be that identification. ## Joyce Raimondo [01:01:28](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3688s) Well that's a good point. By the way for everybody who's on here, April six we're going to have an event for you know virtual from the Pollock House called the creative mind. And I'm going to go into detail. About this idea of interpreting. And how to get people to have, you know, express open ended ideas about interpretation, and some research that's been done about it and so it's going to be a little more focused on the viewer, as well as the art maker so you can come back to that one. So let's see we have so many good questions here. Michael says is the linen you work on printer ready. Or do you have to print it out. And how do you prepare the surface in some way. ## Colin Goldberg [01:02:17](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3737s) No, it is primed. I use a brand called sense so as the NSO, which you can buy online about an enroll. It's primed with clear. Just so, and it's fairly thin compared to a lot of other linens so I can run it through the printer pretty easily. But generally I do also use this primer in cade. As a top coat especially when there is painting. On top of it. So in case you sort of like something that I use in between. The before I print, I'll prime it again with in cave with clearing cade. And then a lot of times after I print all spray it with like a cry on that or something like that to prevent any of the ink from smudging. If I then paint back into it and like I said most of my work at this point involves multiple passes through the printer so it's a fairly complicated process. And sometimes there's a screw up, you know, and it jams in the printer, or it doesn't print well. And one benefit of using multiple layers of primer is if I'm quick enough I can actually wipe down the surface of the painting and remove the print and try it again. If it. If I wait too long and it dries, that's, that's not going to work, but. ## Joyce Raimondo [01:03:36](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3816s) Well thank you for sharing all your, your secrets now I'm just kidding. No, I knew there was going to be a lot of stuff. I know there's a lot of questions these all good questions so I'm trying to group some of them together because there's so many. What is wireframe drawing. ## Colin Goldberg [01:03:51](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3831s) So, wireframe is really a reference to CAD drawing which is like computer aided design. So, you know, a lot of that drives history from engineering drawings and see, you know, basically 3D models, you know wireframe is kind of a way of showing. You know, a wireframe is kind of a way of showing. You know, a wireframe is kind of a way of showing a 3D form in a, in a kind of skeletal way. And a lot of times what I'll do is I'll make a mark. I use this. Whackham drawing tablet for all my composition so I draw on the tablet. A lot of times I'll make a mark like a gestural mark, and then I rotated in space within a vector based drawing program generally Adobe Illustrator, which I've been using for, you know, since the 90s. And that's been my primary composition. And that's been my primary composition. So I use this as my traditional tool and the reason that I work with illustrator primarily versus something like Photoshop is because it's what's called vector based drawing so vector based drawing defines each line and form and shape mathematically versus as a grid of pixels. You can't print it beyond a certain size whereas things that are drawn in vector. Like that kneeling icon for instance could literally be printed. You know, the size of a billboard, and it would still be crystal clear because everything is basically defined mathematically. ## Joyce Raimondo [01:05:24](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3924s) Thank you. I'm Joshua says what new technologies excite you the most that you'd like to explore and which ones do you fear. I like that. ## Colin Goldberg [01:05:38](https://www.youtube.com/watch?v=8aQDDA-u0io&t=3938s) You know, I'm a You know, I think that actually, and I'll share, I'll do a screen share while I'm explaining this too again. So one thing that I think is really exciting right now is this phenomenon of crypto art and NFTs, which stands for non-fungible tokens. And this is something that literally was just in the New York Times like this past weekend, where artists have basically been working with blockchain technology, like what drives Bitcoin, to allow digital creations to be truly unique. That is, a digital piece can be verified to be owned by a particular collector, and it can then be resold in a way that... Digital art never has been able to be done before. So this piece is a piece called Urbanite, which is one of my vector-based digital drawings. And it's a very interesting piece. So it loops, basically. It's a 23-second loop. And I often use numbers that are significant to me in my work as well. I was born on the 23rd. My daughter was actually also born on the 23rd, on June 23rd, at 623. So that's a very significant number for me. And I kind of like incorporate numerology in some ways in my work in terms of the numbers that I select. But... NFTs and crypto art would be my answer to both questions. What am I most excited about? And what am I most afraid of? Afraid of because, like... Well, I don't really know if it's fear, but I think that there's going to be a big... And there has been a big sort of, like, reaction against this new sort of phenomenon in the art world of crypto art. That is, a lot of people are saying it's not art or it's not valid, which are all the same things that people have been saying about technology-based work since people started doing it. So, yeah, I wouldn't say that there's anything I particularly fear about technology-based art, other than it'll, you know, suck in my attention and prevent me from doing much else with my life. ## Joyce Raimondo [01:08:21](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4101s) But you know what, Colin? That's an interesting point you just brought up. Because... Look, the impressionist artists were told that's not art. Van Gogh was told that's not art. You know, Pollock, certain people said that's not art. So, change can be very difficult for, you know... Change challenges the status quo. So, we're so used to thinking of art as something that's handmade. So, that's why I love this talk. It makes us question. ## Colin Goldberg [01:08:53](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4133s) And, you know, honestly, I would say that... Yeah. If I'm drawing with my hand on a tablet to make that digital drawing that then became an animation, I mean, to me, that's still handmade. Absolutely. ## Joyce Raimondo [01:09:06](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4146s) In your case, you have both, actually. Yeah, you have your actual mark, and then you have the digital or the technological aspect. Now, we have so many different questions here. I always like to have, in addition to the questions, because a lot of them are actually very technical, but I would like to take some time to hear from some of the participants, because I know we have some Techspressionists out there. So, is there anyone who would like to share as a Techspressionist, like for about one minute, and tell us about what you're working on, or maybe you have something in your house that's behind you, or anybody who would like to actually share something of your creative process to bring this full circle, because we have people from all over the world. Which is great. So, if you would like to share, you can put a little hand up in the chat. I mean, in the participants. Well, you know what? I think I'm easier for me to do it in the chat. Oh, I see somebody's hand. Okay, good. So, who is that? I don't usually do it this way. You'll have to excuse me. I'm sorry. I'm having a technological moment. If you want to share, can you just please write in the chat, I'd like to share, and your name will come up really quickly. Oh, here we go. I'd be happy to share. I'm going to... Colin, you're going to do it. Colin, can you see the chat? Would you like to call on people? I don't want to put you on the spot, then maybe other people are going to get mad at you. ## Colin Goldberg [01:11:02](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4262s) I see, like, in the order that I saw the hands go up, I see Roz, Darcy, and Tommy. ## Joyce Raimondo [01:11:10](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4270s) Perfect. Okay. And I do ask everybody to be brief, so I'm going to time it. Okay? So, go ahead. You call on the person, and then I'll do the screen share. ## Colin Goldberg [01:11:21](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4281s) Actually, I see Diane first. Diane Marsella? ## Joyce Raimondo [01:11:27](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4287s) I mean the spotlight. I'll do the spotlight. Odd, nice to see you. Unmute, please. ## Diane Marsella [01:11:34](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4294s) Unmuted. Okay. Hey, I'm thrilled to be here. I got involved with Sexpressionists a few months ago. Delighted to meet everybody because I started thinking that there wasn't anybody out there doing what I was doing. Nobody really understood it. They liked it, but they didn't really get it. So, I'm going to attempt to share my screen. Please forgive me. This is my first time doing this. So, can you let me know if you see that image? ## Joyce Raimondo [01:12:03](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4323s) Yes, we can see it. We can see it. ## Unattributed [01:12:05](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4325s) Great. ## Diane Marsella [01:12:05](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4325s) Great. ## Joyce Raimondo [01:12:07](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4327s) Yeah, just like 30 seconds left. ## Diane Marsella [01:12:09](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4329s) Yep. I'll go through them quickly. These are kind of in chronological order. All of my images are based on photos that I've taken of something that I thought was interesting. And I only use photos that I've taken. So, I'm going to go through them. And as I go through the image, kind of like the other artists we spoke about earlier, I don't have a title in mind. I sort of let the piece do what it's going to do. And then a title sort of comes to, depending on my mood. Of course, with this summer, all the awful things that were happening in this country. Some of my stuff became very, I don't know if you could say angry, but angry. Nero fiddling while the country burns. And then there's hope. Once the election hit, I was a little bit of a happier person. ## Joyce Raimondo [01:13:10](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4390s) Diane, that's time. ## Unattributed [01:13:12](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4392s) Okay. Thank you. ## Joyce Raimondo [01:13:13](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4393s) I just want to thank you for sharing, because this is really good. It's bringing up the circle. So, Colin, can you call on us? Can you call on the next person? ## Colin Goldberg [01:13:22](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4402s) Sure. And, you know, I would say this is something from our salons. Diane, if you want to paste your web link into the chat, then people could follow up and look at your work. And it goes for anyone else that presents. So, next up is Roz. ## Roz Dimon [01:13:40](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4420s) Hi, everybody. Can you hear me? Yes. Great. I don't think I'm going to share a screen, but I have a piece behind me. That's one of my digital paintings. And I just want to say, being part of expressionism as an artist who was a painter, traditional painter who got accidentally involved in digital art, by just responding to a world of pixels, everything started filling with pixels, being part of this new movement after 30 years of working in this medium. And it's been exciting all along. But I think we're at a second sort of movement that I relate to the 1990s of the dot com, when things were really exploding. And ideas were being shared. And I love this Techspressionism a lot for the community and the sharing and the learning. Because, yes, we work in our own islands. But I think a new form of rather artist atelier is forming in a way that is collaborative and almost like a movie director working with different images. And there's just an explosion of ideas going on and a real seriousness as to art. And I think to expressionism. I'm excited. I'm excited about it. So I just wanted to say that. I appreciate that Colin has taken the helm and kind of geared this. And he's directing it. But he's very open. And that's really been exciting. And I encourage you to go and see. Here are some of the interviews that we have online. That's where you really get an in-depth look at what artists are doing. I'm in one of them. And I've interviewed two other people, including Colin. And I invite you all to go to Techspressionism, Techspressionist on the web. And I invite you all to go to the Jackson Pollock House and YouTube. And thank you. Thanks, Colin. And thank you to the Jackson Pollock House and Helen Harrison and to you, Joyce, as well. This has been great. ## Joyce Raimondo [01:15:25](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4525s) Thank you for sharing. I love seeing. This is so good to bring this full circle. So Colin, will you call on the next person? ## Colin Goldberg [01:15:33](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4533s) Sure. Darcy? ## Joyce Raimondo [01:15:37](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4537s) Hi. ## Darcy Gerbarg [01:15:39](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4539s) Let me bring up a screen share here. I have for the last number of years been painting in a virtual world with Tilt Brush, which I like a lot. And these paintings actually all exist. ## Joyce Raimondo [01:16:00](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4560s) Speak a little louder, Darcy. Speak up a little, please. Okay. Let me see. Great. Very good. Can you hear me better now? A little bit. Yeah. These are amazing. Go ahead. ## Darcy Gerbarg [01:16:13](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4573s) So I paint all these in a virtual world with Tilt Brush. They're all on canvas. I love listening to Colin talk about all the ways he experiments with getting his work into a physical medium. That has been one of the big efforts of my working with this technology because in the beginning, there were works just on screens. And you can see I've incorporated a real-time image. But now we're working with digital imagery as well. So I think that's one of the things that maybe is part of what we can do. We can go in and out of the computer. In and out of physical media. And make artworks that way. Which is really pretty fun. This is what a new way I have found of being able to actually look at artwork. So this is the, this would be a painting I would paint in Tilt Brush. I call them 3D light sculptures. Around the periphery of this world in alt space VR, you can see billboard-sized paintings. And I invite you all to come here. You can come here as an avatar. You can fly around in these light sculptures like this. And it's a new way, kind of, of exploring. And experiencing artworks. ## Joyce Raimondo [01:17:36](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4656s) That's fascinating. That's really brings a whole other aspect to this. Can you put the info in the chat, please, Dorsey? And thank you so much. Those works are stunning. We're going to go on to the next person. But the colors are just spectacular. So I want to make sure most people get a chance. Thank you, Dorsey. Thank you, Dorsey. Thank you, Dorsey. Thank you. ## Colin Goldberg [01:18:05](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4685s) Tommy Mintz. Tommy Mintz I think is the next one I see in the chat after Dorsey. This is very nice. ## Tommy Mintz [01:18:13](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4693s) I think you can hear me now. Am I unmuted? Hi, everybody. I have a print behind me that I'd like to share. It's an image that I generated with an algorithm that analyzes a sequence of images and determines areas that have changed. Something that's different. Creates what I consider a time lapse collage. This is printed dye sublimation on aluminum. It's a particularly exciting way to sort of, you know, bring into material form these digital creations. And if I still have time, I'd like to just share with you some recent work that I've been making using. Here's my software. It's freely available on Twitter. It's called GitHub. If you're into Python. And it's called the automated digital photo collage. And here's some recent collage. What I do is I go around, take a series of images. Trying to keep the camera quite still. Sometimes I have it on a tripod. Sometimes I don't. And when I don't, the slight edge shift between my sort of wavering hands. Shows up in very interesting ways. And I've been fascinated by that recently. So what I do is I take a sequence of pictures. And actually I can show you maybe a folder of work in process here. Here's some photos of a location. And I actually run them through Photoshop to align them using align layer algorithm. And then I run them through my algorithm that generates layer masks. Which are the areas of difference. So everything that's white. Gets laid in. And becomes part of the collage. Which is the output. And so I get this ever increasing sort of layering of moments of time. Which I think is a very digital expression, if you will. So thank you for your attention. ## Joyce Raimondo [01:20:19](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4819s) Thank you so much. That's so fascinating. Really that's a clear example of technology kind of idea. And I think that's a high end understanding of technology. It seemed complicated to me. And coming together with also your artistic vision. It's like the intuitive brain and the analytical brain. ## Tommy Mintz [01:20:40](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4840s) I like that. Thank you. ## Joyce Raimondo [01:20:41](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4841s) I mean unbelievable. Really. Very good. ## Tommy Mintz [01:20:45](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4845s) There's a lot of great work here today. Really. ## Unattributed [01:20:47](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4847s) A lot of great work. ## Tommy Mintz [01:20:48](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4848s) I feel flattered to be in ## Unattributed [01:20:50](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4850s) This crowd. ## Joyce Raimondo [01:20:51](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4851s) So, Colin, can you call on someone else? ## Colin Goldberg [01:20:55](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4855s) Sure. There's one more person that I see. I just wanted to say one thing really quick, too, in relation to Tommy's work. Like, you know, I think that the sort of basis of Techspressionism from a definition standpoint is like this idea of expression of emotional content. And I think a lot of the people see the work in some way or even the artists themselves see it as process driven or, you know, sort of process oriented. But I think it's really hard to know. I think even from a first person standpoint, what the work is about, like, as far as like an emotional litmus test of where the artist is at when it's created. So it's hard to say, like, by looking at an image, if there's emotional intent there or what that is, you know, so it's, it's tough for me sometimes as a curator, when I'm picking work for the feed for instance to know, like, is this work that's just about an optical effect, or is it about an emotional state and really like all work. Is about an emotional state. So I just wanted to put that out there, you know, because who is it, you know, who is, who is a curator or someone external from the artists to really say what the intentionality is to me that's, you know, that's up to interpretation, you know, so again like you know I look at Tommy's work and there's a very specific technical programmatic explanation and probably almost nobody in this room knows even what Python is. I certainly don't code in it but I know enough to know it's a coding language. But you know I think that what the work is about it might have been what where your head was at that day or what you were thinking about or what made you take that image of that particular street street corner or something like that. So anyway, that's my little kind of two cents. ## Tommy Mintz [01:22:45](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4965s) Can I just pick up on that, Colin? Because that's exactly what happens, I think, now as I go out taking pictures with the algorithm and its interpretation in mind. So, you know, I go out with the digital in my mind as I'm at their footer. ## Colin Goldberg [01:23:03](https://www.youtube.com/watch?v=8aQDDA-u0io&t=4983s) Gotcha. And I'm sure there is a personal... To those specific locations or something that's going on with you in relation to that spot. So people might see it and say, well, that's like some cool like Photoshop style effect. But that's not necessarily what the work is about. And I just wanted to put that out there because that's a common way that I think people look at digital work on a very surface level, you know, and that's really what I'm trying to open people's minds up to is that, you know, that's a very service way of looking at any kind of art. It's like saying, well, you know, Jackson Pollock, he just dripped stuff on a canvas and let's leave it at that, you know. ## Joyce Raimondo [01:23:44](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5024s) And even just to bring it back to the history, you know, like Andy Warhol, his Campbell's soup cans, they seem kind of deadpan, right? It's a soup can. It's a manufactured object. But yet, if we talk about expression, it maybe wasn't his intent, but it's very highly nostalgic for people my age when you see a soup of Campbell's soup can. Right. It brings back memories. It brings back your mother serving Campbell's soup. So it's not Jackson Pollock is it's when we talk about memory and emotion and it's much broader than just letting your emotions out with dripping paint, you know, it's much more complex. That's why I like this talk, because it raises a lot of good questions instead of narrowing it down. ## Colin Goldberg [01:24:35](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5075s) So certainly Pollock's work wasn't about dripping paint. You know, it was about what was going on with him, which is probably a lot of times, you know, he was intoxicated or going through some sort of crazy emotional crisis or whatever was happening with him. ## Joyce Raimondo [01:24:51](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5091s) He wasn't intoxicated just for the point of he didn't drink and paint at the same time. But anyway, but it does also like it spoke to the whole time he was living in all the troubles with World War Two and World War Two and so on. I'll tell you what, we have one more minute and this conversation is so good. But I do have to stop at five. So why don't we just take one really quick share, OK, and then ## Colin Goldberg [01:25:21](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5121s) There's Vernaida, Verneda Lights is the last one that I see on there. ## Joyce Raimondo [01:25:29](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5129s) So where is Renata Renata, ## Colin Goldberg [01:25:31](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5131s) Are you in here? ## Verneda Lights [01:25:34](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5134s) Yes, I'm here. ## Joyce Raimondo [01:25:38](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5138s) Go ahead. ## Verneda Lights [01:25:40](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5140s) I have. OK, hold on a second, please. ## Unattributed [01:25:49](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5149s) Second, please. ## Joyce Raimondo [01:25:58](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5158s) I'm getting feedback. ## Verneda Lights [01:26:02](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5162s) I know I'm trying to stop it. ## Joyce Raimondo [01:26:04](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5164s) I'm trying to stop it. OK, ## Verneda Lights [01:26:16](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5176s) I think I have that. ## Joyce Raimondo [01:26:19](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5179s) I'm sorry. ## Verneda Lights [01:26:21](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5181s) Go ahead. Go ahead. ## Unattributed [01:26:23](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5183s) We're going to have to go to someone else. ## Joyce Raimondo [01:26:25](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5185s) So sorry, but thank you so much. And the technology, technological difficulty. Can we're going to do everybody. Now, I see amazing friends on the call, I see amazing artists whose dreams I recognize. And I see a lot of people would like to go further with this discussion. So, Colin, can you tell people how they can get more information and what like, is there a qualification to get into the group or anything you want to share to wrap up? And I will also tell everybody the Pollock House and let me mute everybody. And what's going on here? OK, let me pin myself. So. We have this is our creative intention series, so we have guest speakers virtually connected to different themes relating to abstract expressionism. So the next one, which I think is going to be incredible, is the creative mind, and we have Norman Brosteman, who wrote a book about the history of kindergarten and its impact on specific modern artists. He links back. And then he's abstraction to the fact that he went to kindergarten. So that one is going to be specifically about can you teach creativity and we're going to have different speakers and so on. I'm going to be one of them because I also I'm considered an expert in how to teach visual literacy. So we're going to we're going to discuss that in more depth. So check back with PK House dot org and Colin. So what would you like to wrap up? Of course, we want to thank Colin virtual clap. Thank you. And what closing thoughts, Colin? ## Colin Goldberg [01:28:26](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5306s) Sure. So I would say, you know, if you're interested in expressionism, all my own site is just Goldberg dot art. I have a mailing list on there. So you can always sign up for that if you want to find out more about where what we know where I'm showing personally. And then with regards to expressionism, there's also expressionism. Dot com is the website. There's a mailing list on there where if you sign up for the mailing list, then you'll get notified how to how to access the Zoom salon. And at this point, the Zoom salon is open also to non artists to just people want to sit in and check out the conversation. The way that as an artist you can get involved, the best way is to use the hashtag expressionism when you're posting your work to Instagram and I every basically on a daily basis. Look through a hashtag search and just repost interesting work using the hashtag to our account, which is at expressionism on Instagram into the story. And then each day there's actually a featured artist on the expressionism Instagram where I post three of their images. And those artists are all going to be we're going to be selecting from our artist index for an upcoming jury show that we're going to be. And then we're going to be posting on expressionism dot com using Kunstmatrix, which is a German VR platform that we're technology partners with. ## Joyce Raimondo [01:29:56](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5396s) Well, thank you so much, everybody, for participating. Sorry we couldn't get to everybody. And thank you again to Colin. This was so breathtaking visually as well as intellectually for me I mean it just sparked my creative it opened up my mind so stay safe everybody stay happy and nice to meet our new zoom friends so ## Unattributed [01:30:21](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5421s) Good night everybody depending on where you are thank ## Unattributed [01:38:54](https://www.youtube.com/watch?v=8aQDDA-u0io&t=5934s) Thank you.