---
type: salon
number: 25
title: Lights, Gerbarg, Stein Hasinoff, Bradley, TinTin23x
date_recorded: 2021-08-31
date_published: 2021-09-01
video_id: BbLPmZfJVOs
url: "https://www.youtube.com/watch?v=BbLPmZfJVOs"
duration_seconds: 6969
moderator: Davonte Bradley
speakers:
  - name: Verneda Lights
    country: Port Royal, South Carolina USA
    start: 403
  - name: Darcy Gerbarg
    country: NYC, NY USA
    start: 1535
  - name: Deann Stein Hasinoff
    country: International Society of Experimental Artists
    start: 3294
  - name: Davonte Bradley
    country: Richmond, Virginia USA
    start: 4527
  - name: TinTin23x
    country: NYC NY USA
    start: 5400
transcript_source: whisper-large-v3
languages: ["en"]
---

## Davonte Bradley [00:01](https://www.youtube.com/watch?v=BbLPmZfJVOs&t=1s)

Hello, hello and welcome everyone to the 25th Techspressionism Virtual Salon. This salon is a bit of a special one because this actually marks just about one year since this whole thing has started. Because, kind of do the math, 25 times 2, I mean no, 26? 25? Anywhere. Anyway, it's about one year since this all started. And we've definitely come a very long way in that time. A lot of new faces over this past year. So many more artists. It's been a wonderful journey up this far and I hope that, you know, the next year, the year following, continue to be as great as this past one.

So, today, we are actually going to be doing things a little bit differently than the past several weeks of, or several months rather, of meetings that we have been. This is going to be a more open forum, very short presentations virtual salon today, which is more or less in the style of our original salons. Like those first couple before we actually had like a concrete structure. With the whole meeting. And that's only happening because we didn't actually have somebody, people set up for presentations this time around. But, kind of comes full circle, right? Go back to how things were in the beginning.

That being said, we do have a couple of people that volunteered prior to the start of this meeting that wanted to share some projects or some updates about what they're working on. That includes, I believe, Darcy. Deanne. I think there's two other people. One I don't see in the chat quite yet. But that's, that's all good. It's, this is going to be very loose very free just discussion, sharing, all that good stuff. So that sounds good to everyone here.

Yeah, yeah, nodding. Bernadette, I think, right? Bernadette, did you want to present? Yeah. Yeah, Bernadette. Okay. Mm hmm. And with that being said, do we have any volunteers that would like to go first or you just, or I can pick someone, either one. Darcy, you want to go first? Yeah, I'm just hoping this thing comes up. All right. Oh, and if you're not sharing, could you please mute your mics just to keep everything copacetic. It's just loading me. Thank you.

All right. We'll see how long that takes. See if I can share my screen with this. Actually, it's not letting me do anything else. Just finding the whole. I'm not sure this is even going to work. Well, it wouldn't be in the spirit of our salons if there wasn't at least one technical difficulty that happens. So, yeah, I'm not screen share item here. At the moment.

I don't know. Can you help me. What are you using what I'm trying to bring up all space on my Mac and another window and go into my virtual world so I can show you the world. And I've a way here we go. Now it's coming up. Okay now, oh, I got my cursor back. Let's see if I can share screen.

Share screen. Yeah. Fingers crossed. Open systems references. That's probably asking for permissions. Let's see. I need some help. I have some technical support for you. So it's, you're trying to share your screen from your Mac correct. Okay, so you have share screen. Now, all space, it says unknown. This is us.

Yeah, what space VR click it. Hold shift select window. Hold the shift. No, no, don't do that. Just click share. Open system preferences. Okay, one second. I'm going to take over. The thing that happens. My husband gene. Hey guys. Now on zoom app. Okay. Has a question or wanted to say something. Sure, Guillermo. Okay. Saying that correctly. We have to temporarily get out of that. Oh.

So is that okay? What are you doing? I'm gonna temporarily get out of Zoom. And go back into Zoom? And go back into Zoom. Okay, I guess I won't be first. Okay. All right, that's fine. It's a Mac problem, a Mac security issue that we just- I'm ready to, I'm queued up. I hope you need someone to go next. Okay.

Guillermo, I see that you have your... Hand raised. Did you have something you wanted to say first? Oh, you can't speak? Are you muted? He's muted. You're muted, Guillermo. Oh. Hold on. Am I missing something in the chat? Huh. Well. Okay. That's a little unfortunate. Yeah. Wow. That's all right. If there's issues communicating, please feel free to use the chat. I'll be happy to answer them. And I will definitely see it because I am watching it like a hawk as I always do.

But anyway, Renata, you can go ahead and share what you have to share. All

## Verneda Lights [06:43](https://www.youtube.com/watch?v=BbLPmZfJVOs&t=403s)

Right. Good afternoon, everybody. It's my pleasure to be here with you today. I wanted to share with you. My latest exhibit. My first solo exhibit just happens to be a fully expressionist exhibit, which is at the Beaufort Digital Corridor Base Camp Gallery. The Beaufort Digital Corridor is a technology hub in the South Carolina Lowcountry, and they're also developing one in Charleston, South Carolina. So the Deep South is getting on board with the technology revolution. It took a minute, but we finally got there. And they were all excited when I told them about expressionism as a global art movement. That is, I believe, the next iteration and creative expression for creative artists.

So my background is in medicine, but I retired from medicine in order to come home and be with my parents who were failing in health and also my younger brother who had a stroke. So I was a caregiver for a period of about 11 years. And for those of you who had that pathway, you know that it's a hard walk, so to speak. It's very, very stressful.

Economically disadvantageous in a lot of ways. It resembles much of this quarantine that we've been under the last year or so. And to handle the stress, I used photography to document what was happening with my parents and with myself. As we went from point A to point B in the caregiving journey. And after they passed away, I started assembling these artwork, these photographs into photo montages in order to tell a multidimensional story as to what was happening with us. And hopefully leaving a record that younger generations in the family can relate to. And I urge everyone who is involved. With caregiving to utilize art therapy. Because, you know, as far as I know, art is medicine. Just as much as medicine is an art. So here we have some of the artworks that are in the Gullamy exhibit. And I'm going to focus on, because there are many, but I'm going to focus on a subset of the artworks.

These are self-portraits. These are self-portraits. That I call this subsection synonyms. And what makes the synonyms remarkable and why I call it that is because in the process of doing self-portraits, I came up with several images that look more like family members than like me. And this one is entitled Face.

And Face is a nickname for my brother Grady. Grady is two years older than I am. We were playmates growing up. And we're still close to this day. And when I finished this, I sent it to Grady, but I didn't have the opportunity to explain in an email that it was actually my face. He looked at it and he thought it was him. And he was thanking me for doing an interesting portrait of him. So somehow, you know, I'm going to use this. And then the artistic impulse had pulled into this androgynous genetic base where my face had morphed into my brother's face. So here we have another self-portrait that looks an awful lot like my grandmother Deary.

And Deary has the hemifacial mask, which is a theme in synonyms. But she also has a Mardi Gras-type mask superimposed upon it. And as you can see, the eyes have different colors and whatnot. And Deary was, you know, very fair-complexioned woman. She was Charleston Creole. But she had a secret. And her secret was that actually her mother was white. But her mother was a white woman who was living as a Black woman. My great-grandmother had posed as a mulatto because, you know, we have many people in the Black community who are so white they pass. They quote, unquote pass for being white. And I had many members of my family like that. They vanished across the color line and you never really heard from them again. But for some reason, my great-grandmother, Mamie Suarez, came into the Black community, married my great-grandfather, who was William Suarez.

And she passed as a fair-skinned Black woman who could pass if she wanted to but chose not to. But in reality, she was white. And we found this out by DNA testing. So looking at my grandmother's portrait, my grandmother's synonym, I thought to myself, well, that double mask is on her face for a reason. Because she had a secret that we all didn't know about until, say, the last two years.

So that's Gullah Medeiri. And this synonym is my face, but it looks an awful lot like my Aunt Mina. Mina was my mother's sister. She was very fair. My mother was very brown-skinned. Mina got away with a lot of mischief as a kid and got my mom in trouble. But they were best buds until the day that my aunt passed away. But Mina's portrait is very different. I tried to put a golden hue to her hemifacial mask. But for some reason, the pigment, you know, just wouldn't take. And instead, there's this very stark, contrasting imagery here, which is, you know, very much like her. Very terse, uptight, you know, everything's black and white, that type of thing. And also here, this is another self-portrait. And it looks just like my Uncle Bertie lights.

Uncle Bertie passed away in 2016. In 2017, he was dying, actually. As I was doing this portrait, I didn't know that he was passing away. But I visited him in the hospital shortly before he died. And I had this in an exhibit. And when the piece came back to me, because it didn't sell at the exhibit, I gave it to my aunt as a gift. And she looked at it, and she thanked me. She thought it was Uncle Bertie. She actually loved it. She thought it was him. You know, I just thought there was a resemblance. But she didn't see anything about me in it. She just saw her husband. They had been married for 50 years. So I thought that was, you know, fascinating. But what all this is telling me is that when you're working in a purely digital environment, the advantage of a digital environment is that it allows you to use, to sculpt light on an electronic canvas.

So we change the shadows in subtle ways as they fall upon a face. And I think those shifting shadows that we manipulate in a digital environment enhances aspects of a family's visage that's been set up by DNA in such a way that from shift to shift, it highlights or downplays the image. It downplays various aspects of that family DNA facial map that you otherwise just wouldn't see in other family members. So DNA in many ways lays down a template for our faces, what we call family resemblances. And a digital environment allows us, I think, uniquely to manipulate that. I think that's an advantage of Techspressionism.

So. Thank you for that. That's very interesting. It's also your project made me, reminded me of just there's this thing that happens with me where. I'm. Apparently no matter where I go, no matter what part of the country I go to. There is someone that always says that I resemble very closely someone that they know. Like I've had this happen in Tennessee, Alabama, Kentucky, Ohio, here in Virginia multiple times, Georgia, like all over and when I went to Hawaii. People were asking me if I was native Hawaiian, which.

As far as I know, I did not look. Check your DNA. Check your DNA. You may well have, you know, a Hawaiian buddy. Maybe, maybe. I didn't. I did do a DNA test and there was a lot of Nigerian and Ghana apparently, but I didn't see anything from Hawaii. But just the fact that. Faces are so interesting because it's like there are like specific templates. And there's only so many ways that genes and stuff can be recombined to produce wholly unique.

Visages. So there's going to be like overlap. And I guess in my case, like I've, I've even met some of my doppelgangers. It's, it's crazy. Sometimes how closely we end up resembling each other and we're not actually even related yet. That you know. Well, that I know of, like, as far as I know, we don't not connected that way, but it's very interesting. But thank you for that. Yeah, you're welcome. Also, Lee, I see you finally made it in after very about 20 minutes worth of struggle. Welcome.

Lee was one of the artists who presented last time, but he was having issues getting in today, but I'm glad that he's in here now. All right. I actually, not only did I have issues, but well, issues getting in here today. And also after the last time that we saw each other. A few of you know, I had.

Quite a few issues. I ended up getting hospitalized and didn't get intubated. But I went from breathing about 5% of my lungs to back and forth force. So, you know, happy to be here. Glad to see you recovered. Yeah. Yeah. Much happy. And those were beautiful pieces. Vernita. Beautiful piece of your, of your uncle. Gorgeous, gorgeous piece. I'm going to go back on mute though. Cause I want to let everybody talk. But I hope to talk to you a little bit later. Yeah. Take care.

All right. Did anyone else have any comments or questions, concerns, or just. Praise to give out. Cause we do that here. No, no stranger to that. It's very beautiful work. Very interesting. Yeah. Wonderful work for NATO. Beautiful. Thank you. I said something in the chat, but it would. I wanted to speak out as well. Fantastic. Thanks for sharing and thanks for, you know, also sharing the idea or the word expressionism in your materials. You know, that's definitely much appreciated to help try to create awareness. Oh, yeah. Interesting approach and purpose. It just. I think that's really interesting about it as well.

Thank you. Oh, we, we do have one. One question. One question. From 10, 10. So is all your work sourced from family photos? No. Not only one. Part of the Gala me collection. The title. Title of the exhibit is Gala me. I'm Gala. That means I'm descended from blacks who were brought as slaves. To the South Carolina low country. And, you know, that's my history of my ancestry, but only one.

Peace in that is from a family. Photo. Which is the portrait of my father. Of running lights. That I did. I restored it and I recreated it. And then I also included it. In a photo montage. But everything else. Is. Either my face. And an interpretation of my own face. Because that's the only thing I really had to work with while in a caregiving situation. I wanted to paint. Right. But I had no space. And no time in which to set up an easel and brushes and. You can't have turpentine around sick people and things like that. So I needed a sterile environment. I needed the environment that could travel in my pocketbook. So I had to fall back and use my digital cameras.

And my, my smartphones because they fit in my purse. And I could work if I was in the back of an ambulance. If I was at bedside in ICU. Garbed up with gloves and I was like. I'm going to get up and get up and get up. And I could still work. You know? So I had to use the instruments at hand and the technology made that possible. So my objective was to paint. With my camera.

All right. So there are a lot of photographers telling me I have a painterly approach. To take pictures. And I think that's true. So I use colors and I, and I sometimes import into Photoshop and other software. And just use the brushes. To do certain effects. Like in weather tomorrow. There are a lot of different. The portrait that looks like my. Uncle. It's a lot of color involved with that. And I had to do those, you know, enhancements. With software in Photoshop. And whatnot.

And, you know, I. It's, it's interesting how. I don't know. I think we. Creators artists fall back on what they have access to, or find ways to. Like continue to create. Just based off of what they have around them. Sometimes I thought, I think that's. Actually the late. I know for me personally, I. I ended up getting into digital art all those years ago because. That's one of the things I had regular access to. I didn't always have access to. Pencil and paper sometimes, or even crayons to play with. Like. I didn't have access to anything. But my computer was always there. Right. So end up creating one, my computer. Cause that's what I had. Yes. I started off creating textiles.

And I didn't deal with faces at all. I use paint. You know, to create mosaics. And whatnot and fabric designs. Blankets and whatnot. And then I evolved into. More complex structures. And I started working with all these different colors. And. But I knew that I felt uncomfortable with just doing the tech piece. Because I know this world and I know this world likes to have either or dichotomy. And I said, if I come at them, this was around 2001 to 2003.

If I come at the world and say, oh, look, I got this art I made on the computer. They're going to freak out because they, you know, People are very leaders. And I went to these elite schools like university, Pennsylvania, Sylvain Bryn Mawr College and all that. And I said, they're going to find a way to stick it to me. So I better learn how to draw for real, for real, and learn how to paint and sculpt for real. So I went back to school and I learned how to do all that stuff. And, and I say, I'll have a way to fall back and protect myself should they try to discredit me. No, I knew that was coming. I wrote essays about it and all that stuff. But when push came to shove and I really needed to express myself, all that paintbrush and pencil and easel and turpentine, all that, the whole world just vanished, you know?

And the only thing that was accessible that could get the job done was smartphones, iPad, Photoshop, laptop, boom, lab. In the chat, there was a request to, is there an online version of the exhibit that there's a link to? The link I put in Linktree has the full Facebook artist talk. All right. And I will go ahead and relink that in case anybody missed it. So there it is. Yep. Yep. All right. You know, so there were people from all over the world. There were people from the University of Ghent who showed up for the artist walk. And they had never heard of Techspressionism.

They contacted me on Instagram beforehand and said they're going to show up. They're doing like a research project about artists and their relationships to museums and galleries. And they came across the Techspressionist thing and they didn't know what it was. So I introduced them and I gave them a link to the Techspressionism site and they showed up at the art book, which I thought was really cool. And they showed up at the art book, which I thought was really cool. Nice.

All right. Well, thank you very much for data. You're welcome. Really appreciate it. All right. And I think next up we have Deanne. I think you had a presentation to give or a short. Oh, Darcy, are you ready? I think I'm ready. Oh,

## Darcy Gerbarg [25:35](https://www.youtube.com/watch?v=BbLPmZfJVOs&t=1535s)

Okay. Well, that works too. All right. All right. There we go. Yep. All right. So you can all see this world? Yeah, I believe so. Okay. Well, this is live. And that avatar is a human being who's visiting my world who I don't know. So we can go back in this world and we can go forward in this world.

I want to take you into one of these. Okay, so all the right what you're seeing all around here, for good reason, are light sculptures that I paint in all in with tilt brush and goggles on. You help me fly in here. Look, okay. So when you're in this world, right, so obviously, you can do this from a Mac. Let me just take over the most sorry.

Yeah, okay. This is work. Okay. Yeah, I'm gonna look up with the F key. Okay, now you can go straight into it. Alright, so going to this now I've been working with a Mac. So I'm going to go back to the Mac. Can you all hear this? Yeah, the audio is coming through. It's a little, it's a little distorted because just the limitations of zoom audio. So it's This has spatial sound. It's depending on where you are. If you have different things that you can blend them and you can fly around in here. If you wear headphones, you get an immersive experience.

It's not just stereo. It's the sound is all around you. Can you go down to? F I'm sorry. And this piece here. Hit B again. I'm sorry. It's very slow to move around this way. But When you when you have headset and controllers, it's very Okay. This piece is actually also an AR piece. And there's a QR code for it. So that if you Take that QR code on your phone. And you can see the Yeah, that's it.

So a bunch of those new pieces and then the other new pieces that I've been doing are these. And these will be, I'm going to do all of these as NFTs. And I've just signed up with an organization that's going to be doing that. So the ones in the background. So all of this work, all of these paintings are from snapshots taken in those 3D virtual in those 3D light sculptures that we were one of which we were just in. Okay. So you'll so if I can explain this, let's see.

Okay. So this one maybe. This one's even better. So for this one, for instance, this painting. What's the other thing about this digital work? It's it has no size. You can have it whatever size you want. Right. Look up at it. Okay. So this one has a little bit of a but you'll notice this one has these brushstrokes. Those come from taking the AR object, putting it outside. Take that's my garden, my actual garden flower garden from a couple of years ago. So you can take this AR object outside.

And take a snapshot, which will give me whatever part of that AR object I see. And then I can take a snapshot of the AR object. And you can see that you can see the And the environment. It's really in. And that's how I create. Some of these, I call them the inside outside pictures. Of these murals.

Now, a lot of the work that I've done, like this one also exists on canvas. So I do print them out on a large size. And canvas. These are billboard size. These are both. These are billboard size ones. Here's another one. One of the new ones. It's kind of a different way of looking at art and making art.

This is one of my first. This is one of the first light sculptures that I made. This was before Oculus Quest existed. It was done with a Vive. I think I can teleport out of here. Into your other studio? Yeah. Just go up to the center. I want to teleport to an earlier kind of more traditional thing.

I don't know if I can get in there. I can. Hang on. I'm going to teleport to another art gallery of my work. It's a little more traditional. And all the artworks in this art gallery also exist on canvas at the same scale as you'll see them in this art gallery. So this was kind of a first step for people to get into the art world. So this is a little bit more traditional art gallery environment.

As we're waiting for that to load, I think there are a couple questions that are ready for you already. Okay. I think we can answer the first one already. This is a VR gallery. This is not the kind of VR gallery that the art that the traditional art gallery has. This is not the kind of VR gallery that the traditional art galleries and museums generally are talking about. Right. This is actually a 3D virtual world that it's not a 3D projection of a two-dimensional thing on your laptop. It's just not the same. It's a newer generation, although it's been around forever. These virtual worlds have been around a really, really long time. It's not the same technology as like the virtual art fair. The Hamptons virtual art fair that's going to start on Thursday.

So this is a different technology. This is actually in something called AltSpace VR. And it's actually part of the VRC VR 2021, which is Burning Man Online. And this is one of the worlds. So what I created is a virtual world. And in that virtual world, you can have whatever you like. Create whatever you like. And I've created these art environments.

Is there another question? Actually that tied into another question, which was what software did you use to create these? Was it AltSpace VR with another program or AltSpace VR by itself? They're created with Unity. Oh, they're all created with Unity? It's a game engine. Right. And actually we took the Unity models from Tilt Brush. Okay. With difficulty.

A lot of difficulty. Lighting issues, blah, blah, blah. A lot of problems. Plus, because this is all running on Oculus Quest goggles, which has about the capability of your cell phone, but not maybe as much, you're stuck in a low poly situation. Right. All right. So this looks like an art gallery. Kind of, I think. Right? Looks more like an art exhibition.

All of these artworks exist at these sizes on canvas as well as in this virtual world. And there are two different kinds of paintings here. There's a bunch that I call the Syracuse pictures. And then there are these pictures which are I call the inside and outside pictures. And I call it that because, as you'll notice, these have, these are snaps, well, you may not notice, but remember I was describing how I take my AR object outside? Well, I also take it inside. So this one, for instance, on the right here.

Navigating this way is very difficult, obviously. This one is in my studio. I don't know. Yeah, this is my studio in my loft. And I took my, one of those light sculptures from that you saw that I showed you inside of, I put it in my loft and took a snapshot and took it into Photoshop and created a painting. And that's true of all the pictures on this wall.

All right. So this one is a little bit more of a And they're about 36 by 60 inches, something like that. 30 by 60 inches. Now the ones on this wall. Are created. By taking snapshots. In tilt brush. Of pieces of my life sculptures. And turning them into paintings and Photoshop. This is an early one.

This is an early one. You can see the brush strokes. And the background. Now in, in. Tilt brush. You have an option for what your backgrounds look like. The backgrounds I was in were all black. So it was like I was in a big black void. But it turns out they're not totally black. So. All of the pictures on that wall. Okay. So if you see this picture all the way on the left.

The green one. The big green one. You were in that light sculpture. In the garden. Just was a different color palette. Maybe you'll recognize it. I don't know. Okay. Remember we were in this one. And we were going in between the streamers that came down that were red. When we were in it. Does it look familiar at all?

Okay. So this is a snapshot of that. In tilt brush. That I turned into this painting. Okay. But the model itself. Was a different color. Until I played with it in Photoshop. Okay. Okay. Okay. These are all inside and outside pictures. The one on the left is outside. And the two on the right are inside.

And they're all with the same light sculpture. Now we're going to go. Not quite as traditional. Okay. This is my yard. At my house. And. This is, we created a dome to put this in. This is my house over here. Okay. And this is the gallery. It has no wall. You can see right through the walls from the outside in. Okay.

And you can go right through this wall. And this is one of the light sculptures. Okay. It's a different scale. This actually was the one you were in. It doesn't have any sound. But you can go in it. So as you look through it, you could imagine if you took a snapshot of this. You'd have not only the color brushstrokes, but the background that you're seeing through it. Right? That's how I basically create the paintings.

Okay. And this is an interesting view of this environment because you can see the dome. The house, my barn, the gallery. And that's actually in a different kind of environment entirely. In this world. Right. Gene, is this particular. Portal going to take me back to. Yeah. Well, yeah, I updated it. All right. Do you want to go back to the other world or has everybody had enough and just wants to go back to the other world?

That's me. You can go back to the other world. But I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. So I'm just going to go back to the other world. Girlfriends to give me one of her artworks and I put it in my in the world that I were in before I'd love to show you her piece in my world she's a world-known ceramist and we're famous and she's at Syracuse University her name is Margie Hudo and I thought it would be fun to have other artists in my art world so I asked her for one of her sculptures her ceramic sculptures which was very small and we Jean digitized it and we put it in the world and made it the size that I'd like to see her make it in the real world and then I put a horse under it just to give it some scale so that's a sort of fun thing to see and I'd say in the future I might be interested in having other worlds attached to mine or something with other artworks of people you know that would make sense to me I'm not opposed to that at all it's culture be fun to have some other sculpture in here actually or photography or you know something that you know I've shown my work in exhibitions my work on canvas and exhibitions with Margie Hudo her ceramic pieces and also Beth Bischoff her very large gorgeous photographs black and white photography so I think it's a good thing to kind of show the world that expressed work isn't so alien that you can include it in a lot of other art exhibitions with other kinds of work I find that very often when I submit my work to exhibitions the curator is trying to make a whole cohesive kind of looking show in mine is too weird you know just doesn't look like enough like or they think it doesn't or they aren't sure how to do that But I think it would be in all our interest to encourage that kind of thing.

We don't only have to show other digital work. So I invite anybody who has Oculus Quest goggles to come visit me in this world where you can actually be an avatar and freely fly around in the space. We also put some horses in there that you can ride around on and fly around on. Why not have some fun? It doesn't have to be like a traditional art gallery, right?

It's still getting us there. Yeah, this is huge because of all the audio. Several curators have come into my worlds. And the last one that we were just in, the consensus was looking at art. That way is almost exactly like looking at art in a gallery and it makes them feel very comfortable and they can go around and see the work that way as an avatar and talk about it and react to it in a normal way. In the first world I showed you, there's a fundamentally new way of experiencing art. It can be all around you. You can drift and float in it. You can see around it. It doesn't have actual physical mass. You can go through it. It's a very different way of experiencing it. It's a very different way of experiencing art.

Renata wants to know what specific model of Oculus that you're using. Oh, it doesn't matter. Oculus Quest. The first one or the second one. The very earliest one that discontinued that didn't have the full functionality. The current one, the two and the one are great. And they're not even that expensive.

This one that we're going into now. Does it? Usually have a like long load time associated with it or not this long. This is this is unusually long. It's partly because I'm running on my Mac instead of I don't really know the answer to this. It is longer than usual. Much longer. Normally it takes almost no time to get me out of this world. I don't know why this is because of Zoom. Yeah, because of Zoom. That's probably a couple of things. You could maybe potentially try reloading it. Yeah. We're here. Or I could just speak it into existence. That's also a thing. Let me show you Margie's piece. It's over here. I think it's fab.

Oh, my God. Oh, my Oh my god. Who's that? Somebody in the room. Oh, there are people in my world. You can hear them. So this is a ceramic sculpture. I have to go up. I will, Gene. Well, that will definitely be an interesting addition to our recording for anybody that ends up watching. This is so awkward. Yeah, it's different than the headset is much more fluid. The headset, it's like a completely fluid thing. This is like a nightmare to move around in it. It's not what I do. So I'm not even good at it.

There you go. This is what I mean about putting a horse in here for scale. You can go all the way in here. And you can sit on here. And you can look out of it. And see things out of it. The things that one amuses oneself with, right? So in case you didn't notice, this is from Margie Hudo's series called the Excavation Series.

And I kind of talked her into this so that she would get more involved in technology. And she said, we basically went to a huge recycling warehouse that recycles computer parts. And we fished in there five foot high by five foot wide and long gigantic boxes and pulled out computer parts. And Margie cast them in ceramics. And this particular piece here is a cast keyboard.

In case you didn't recognize the keys on it. And then she made it in ceramics. So she made a mold out of the keyboard. And then she cast it in ceramics and glazed it. And that's how she made this piece. You know, once it's in ceramics, you can do any, you know, in clay, you can fold it and bend it and all that.

So it's a sort of piece of technology. See the keys here? This is so torturous to move around in, I'm so sorry. You want to go down, hit the a couple more times. And she put some mice in them too you notice there's a mouse on top of this is actually a mouse that she made a mold of and made into ceramics.

The original model was 50 million polygons. Yeah, Gene said the original model that he had was 50 million polygons. And we reduced it down to about 20,000 polygons. So the other fun thing about digital art in this world is that it doesn't obey the laws of physics or anything, right? So, for instance, these paintings, you can look at the front and the back. So this is the reverse of the painting. And you can go right through it.

And you can see it from the reverse side. And it's fun because it works in both directions as a painting, right? So, if there's a, if there are questions, that's good. Otherwise, I'm done. Or we can go float around in another artwork if you want. What do you want to do? You want to stop? Considering it is now 3 p.m. And we have a little bit around an hour left, I think that would be a good stopping point. But thank you. Thank you for your presentation, Darcy. It was nice seeing your world again. I think I saw a very early version of it a couple of months ago.

Thank you. Awesome work, Darcy. Amazing. Who are there? All right. Thank you very much for that. I think you did have like one last question. Tommy wants to know about the sculpture conversion process. That's more than I can answer right now. Oh, well, there you go. You're going to have to wait for that one, Tommy.

And I don't do that. Jean does that. And Jean has serious technical chops. Let's put it that way. Got it. All right. But it is an issue. It's not straightforward and easy. Got it. All right. So got a little around an hour left for anyone else that wants to go. I know Deanne, we had Deanne. Colin wanted to do something. Lee wanted to do something. I actually also had something I wanted to share at some point. So we'll see how that all works out.

But yeah, Deanne, did you want to go next? Sure, I can do that. All right. You got it. All right. Just have a check on my shift. All right. All right. All right.

## Deann Stein Hasinoff [54:54](https://www.youtube.com/watch?v=BbLPmZfJVOs&t=3294s)

All right. All right. So this is going to be a little bit different. I'm a part of, and actually there's a few people in this group, I believe, Rick, and I think Rebecca Tombaugh is also a member of the International Society of Experimental Artists. Every year they hold an annual symposium where they do workshops, artist workshops and that sort of thing. The one that's coming up next year is called Pushing Boundaries Reboot.

The reason I'm talking about it is because... Because it's going to be in my neck of the woods, next door to Edmonton. So in St. Albert, Alberta, Canada, from September 1st to 5th. It's going to be in partnership with the Art Gallery of St. Albert. So I don't know if anyone's familiar with IC, but it is a group that was started because they really weren't seeing a space for more experimental types of art, different methods. And experimental is kind of defined by the artists themselves in regular art groups. And so this group was formed in 1991, and they now have about over 500 members in the US and around the world. A lot of the membership is based in the United States. They host two virtual juried member shows per year, and then their international open show coincides with the annual symposium.

So, you know, we are calling this Pushing Boundaries reboot because Pushing Boundaries was supposed to happen in 2020. And like everything, it did not. It went online, it was virtual. And so now the organizing committee, which I am a member, is looking for expressions of interest from artists for possible demonstrations or discussions.

It can be anything from a half hour keynote speech to an hour and a half presentation to a. We're looking to provide a variety of experiences to artists who have varying levels of ability. But we also want to try and make sure we sort of target anywhere from the beginner to the more experienced artist. And one addition this year or coming up for next year is the opportunity to propose online or partially online presentations. So you can consider something that's prerecorded, a live simulcast, live recorded or online only, which I think fits in well with a lot of people's, you know,! Life's lives in the last 18 months.

Digital art content is welcome. And this is just stuff I thought was thinking off the top of my head from different presentations that I've watched in the salons. So apps and programs, simple or not so simple, programming for art, music or video incorporation, digital collage, mixing art with more traditional art or virtual reality like we just watched.

So if you have an idea for a workshop or a presentation, you can submit an expression of interest. The deadline is November the 5th. A shortlist will be created from all those that are submitted. And then once that happens, the people will be contacted to discuss scheduling and logistics and confirmation of pricing.

Presenters can be engaged for more than, or more than once for the same or different sessions. And a final decision will be, made by December the 10th of this year. So just to give you an idea of past submissions. So this is Paul Gravett. His photograph, it was the best in show last year. He does experimental photography.

I've submitted a couple of times to their, to some of their shows. So that some of my work, and then this is Pamela McKinney. This is a digital painting and collage on printed on acrylic. So really a large variety in terms of the types of digital work. I find the group in general is very open to pretty much anything.

They really like to see people pushing the boundaries in terms of art. So if you were even so inclined to want to attend, in addition to the daily art workshops, there'll be social activities for some evenings and a group tourism activity will be planned during the, the symposium as well. Either before or after you could consider traveling further a field to explore Alberta. So Jasper National Park is about a four hour drive from St. Albert. Google maps today said three hours and 42 minutes. I think it depends on traffic.

Travel in the parkway and then you can connect to like Louisa and BAP National Park. We also have a lot of dinosaurs in Southern Alberta. So John, Helen, and I have a couple of them. They're very interesting. They're very interesting to look at. In terms of their geography. But we'd be happy to help anybody if they wanted to choose, chose to come to think of places to visit in St. Albert or Edmonton or beyond that.

So if you have any questions there, I'll put links to the expression of interest and additional information in the chat, as well as contact information for anyone who has any other questions. Unless you have something for me right now. I know Rick is also in on this salon today, so he might be able to also answer some questions. And that's it.

Okay, well, thank you for that. I have a question. Yeah, I saw in your materials that, is it pronounced I-see? Or I think I might've heard Isaiah too, but it's probably I-see, I guess. I've heard it pronounced both ways, but I saw there was something about how, they're looking for proposals of sort of like collaborative efforts between both their organization and individuals and then other organizations. So I was thinking, there might be an opportunity for whatever we're sort of doing here collectively to do some sort of a group, I don't know what exactly, but just seeing that, and the materials made me sort of think, would there be sort of an opportunity for that? And if so, like, how could that be structured?

And certainly I would put it out there if anyone's interested in spearheading anything like that. I'm at the saturation point personally, but I think it could be a good opportunity to, and the same thing with Darcy, I was thinking the ability to curate an exhibition within a new type of space, that's interactive.

We certainly have a hotbed of talent here who are creating content digitally. It could be an interesting exhibition to exist in an environment like that. You know, so. But let me say, every time you bring in something, it's a huge amount of work. It's a whole new story. It's not like I have, and Jean had the capacity to put a whole art exhibit of a whole bunch of artists in something that would be like, so much of art. It would be like, I mean, I can manage a little. I want to do a little, but I can't devote my life to that.

You know? I hear ya. I think, you know, I think there's definitely, I think IC is definitely open to, you know, different ways of showing art as well. So I know like we have the Constmatrix galleries and that sort of thing. And so whether that could be something that kind of happened in conjunction. I don't know if Rick is still on.

Is in the salon or not, but maybe he can. Do you have any money for funding anything or, I mean, getting stuff produced and shipped and installed in Alberta and Edmonton is expensive. Their size. And if you're shipping physical work, they do, I believe they do have size recommendations, but yes, you are basically, you know, you're it's the same thing for, you know, me shipping to anywhere in the United States to do a, some kind of show, just, you know, going in the opposite direction. So I know that they have talked about that. I don't know how they, they haven't had to deal with it yet. This is the first time they've actually done an international location, like outside of the United States.

So while there are some artists from Canada who have participated, the majority of the artists are from the United States. So they were just looking at shipping within the United States itself. So there is that as well. But if you've participated in other exhibitions, then I would think you'd be somewhat familiar with sort of the process in terms of getting your work to and from, and you wouldn't be shipping some giant sculpture. You'd be shipping something that was a little more reasonable in terms of getting it there safely and back safely. So the funding, as far as getting the works to and from is the responsibility of the artist.

And that's usually the way it goes. So I don't see that changing. Although some people, what they do is they participate. They bring their artwork with them and then they take it home with them. So it really just, unless actually that might not be true. It might have to be hung forehand. I'd have to ask Rick about it. I haven't actually been to a physical one. Last year was gonna be my first time participating and it didn't happen. So it was quite easy to just send my email of my artwork.

It's generally generally the easiest thing you don't have to pay for a shipping cost of sending an email yeah now that the case that started to become a thing that'd be that'd be terrifying yes it's like oh your email was over this size you have to pay a premium yeah exactly in 2012 I did show some work in isaiah and we did have to we had to bring it with us on the plane we just came two days earlier and installed it but it really wasn't that difficult when you say the artist has to pay what else is new it's not 100 the case but it's a lot it's the case for a lot of organizations but it's not always the case and you know in the end one has to ask is it the role of the artist to provide free entertainment free art entertainment really is that the role of yeah is that important always on us no opportunity to like recoup our time and our money anything you can apply for private funding you can do that in advance you know they do okay I'm just saying I think these organizations are kind of lazy and they don't take responsibility to do the fundraising which in the past you they might have done maybe but again every organization is different apply for there's a lot of funding that these organizations could apply for but they're getting a free ride basically what I just had a comment to make on this when you said earlier it was different my experience is that every museum I've had working I've had to pay for or if they get a grant or no I don't mean to grant excuse me if they get a donation for that's specified for my project I never see a dime of it goes to the museum you know for something that they're covering like building a platform or whatever so it's always been like that and I mean I always have that situation I do have some cases in which the all of the shipping is paid for both ways and sometimes other expenses are also covered and I'm just saying that's great that's the case that would be better for the case more of the money that's going to be spent on the art shows but none of us have so much money you should be you know funding paying for everything all the time we make this stuff it seems to me that these organizations that are benefiting by having the audiences because of our work should do the work to raise some money and pay for some stuff I don't I think that's a reasonable request the money that I see raises generally goes towards prizes for the in the art shows themselves and I am I haven't done a lot of art shows or juried shows where there were actual cash prizes but I find them to be fairly generous in terms of if you actually do if I might interject for at least a little bit I think we are kind of deviating from the main idea here about what our opinions may or may not be about funding for certain projects which they are valid concerns but you know I think that's a good point I think that's a good point I think that's a good point I think that's for a different time and discussion right now yes ma'am so it's 21 could anyone that isn't actively sharing please mute yourselves thank you lee did you have something that you need to add or yes there is an organization called coda c-o-d-a I think they're based in scottsdale arizona stands for coalition of designers and artists or coalition of designers and architects they specialize in working with artists who can provide artwork that will be installed in spaces within commercial buildings or public places and they're one of the best that I've ever dealt with in terms of making sure that artists get all of their costs covered But I know there were, you said you were going to provide a link to the organization at some point.

So. Yeah, sorry. I had to, my, one of my kids was at the door and the other kid wasn't hearing her knocking. So I had to go let her in. Yeah, I will, once I, we're done discussing, if there's any more questions, I'll put the link. The chat and then if anyone has it help they have the expression of interest and other information and you can kind of go through that if you're interested. All right well thank you very much for that.

And with that I'm not sure does anyone else have any questions or comments? Lee? Other Lee? We got the deadline for the submission or the for the interest but what's the actual date of the event? Oh it's at the beginning it was September 1st to 5th 2022. All right there you go. All right and now I think Colin I think you had yeah Colin what did you want to share your? Yeah I just wanted to let you guys know now that the now that we're actually in the recording I mentioned this before the recording started but so next session which I think is September 14th is the opening of the artist reception. So yeah so we're gonna be having an opening for an artist an artist reception and opening for the next round of the collab exhibition and that entire session is going to be devoted to that so we're not going to have separate presenters but certainly all of the artists you know involved in that show are invited to come and talk about the work and you know this was like sort of something that Davo came up with really early on in this project in terms of artists working with each other passing a digital file back and forth to come up with you know unique collaborative works and the pairings for this round are going to be Mel Avika and Ryan Henderson and then we have Negin and Brandon S Gellis or jealous Gellis I think.

Yep and then Darcy who just presented and Michael Pointer are gonna be one of the pairings and C Moses and Michael Price are going to be the pairings and then we're going to have a couple of artists working on the next round of the Seondles that's another pairing and then Michael Pointer is also paired with Caro Raimondi so there's six pairs all together and each pairing produced you know a number of digital works by passing the file back and forth and those are going to be installed within a Kunstmatrix gallery and that's going to be you know up and accessible both on our homepage and within you know the Kunstmatrix platform.

Today is actually the last day that the NFT Now show is up on the homepage. It's going to be archived along with the collab number one show. And then there's a couple of things, you know, in the pipeline. Patrick and I are co-curating this Techspressionism 2021 exhibition, which is coming up in the fall. And that was sort of like what, you know, kind of kicked this entire thing off in terms of, you know, that was Helen Harrison's suggestion. And his little suggestion in terms of growing this out was to put a show together. And it's been in the works for a little while. So that's going to be an exciting show.

Probably around 100 artists, you know, from maybe... At least 30 different countries are going to be represented in that exhibition. And I believe Patrick is going to be trying to time that with the wrong biennial. And, you know, it would be placed as a pavilion, I believe. That's the plan anyway, within the wrong. So, yeah, I just wanted to let you guys know what's going on. And then the Southampton Arts Centre show is still in the works for the spring. That space is actually having sort of a major resurgence. There's a major art fair that's opening up this coming weekend, which, you know, is definitely going to bring some visibility to that venue, for sure. And, you know, it's all pretty exciting. And if you guys haven't checked out the Instagram feed recently, you should look at the current featured artist, the most recent artist that I posted.

Her name is Suzanne Anker, and she's out in that area in East Hampton. But she also, I believe, runs the undergraduate program at SVA. I'm not sure exactly her position, but she's pretty... Yeah, she's a graduate of SVA. And she's going to be involved in that program. And both her and her husband, Frank Gillette, are going to be in both of the shows, upcoming shows. And they're both amazing artists. Frank actually was one of the seminal video artists. His work goes back to the days of ARPANET. And he was actually involved with ARPANET as from an artistic standpoint. Very interesting artist. And I had an opportunity to train him in Photoshop probably 20 some odd years ago, which was a pretty good time. And he's a very cool experience.

So yeah, I just wanted to pass that information on. But definitely, you know, come to the next collab. It's going to be really cool, I think. And we're going to do another sort of online opening in the spirit of the NFT Now show that we did last time. So that's all from me. Hi, my name's Alison with SEMAP. How are you?

Sorry. Co-office space. It's a thing. Sorry. SEMAP, you have reached 4 million subscribers. Oh, wow. So that's a lot of people. And Davo, definitely if you have anything to add about the collab since it was your baby, you know, feel free to share about it. Yeah, actually have two things. I've been doing a

## Davonte Bradley [01:15:27](https://www.youtube.com/watch?v=BbLPmZfJVOs&t=4527s)

Lot in the, I guess the proverbial shadows unless you've been following my social media accounts and seeing what I've been up to with that but one of the things that I was working on or have been working on is an artist book slash book of short poems slash short poems. Yeah. They're called short poems and they're actually from an autobiographical project.

It's going to be released as a series at the start anyway of four books, each with about 50 poems each. I can actually show you a little bit of what that looks like but I've actually already got a paperback version of it with the initial intention being an ebook that you can get on Kindle or other products but yeah. Yeah. Definitely walk you through that right after I'm done talking about the collab stuff so for the collab stuff I have to apologize to everyone that's kind of been involved with that up to this point because it has been a very long and drawn out point up to this second one I'm actually seeing the light of day or seeing any news about it and that's because I was working on a lot more projects than I thought I could handle probably but it's all good it is done the next one which would be collab number three is going to be starting up fairly soon like there's going to be a lot less on my plate that I voluntarily put there as I've gotten a grapple with how much I can actually handle on a consistent basis and I've actually kind of streamlined some of the things that were pain points from last time with you know actually signing up getting paired off and having that all happen in a lot more concise and organized fashion whereas it was kind of sporadic before so I actually did the time set up forms and have documents already set up for that being said back to my ebook thing or my ebook project let me see if I can actually share let me see where is that thing yeah you know I'll just I'll just share it with you guys so I'll just share it with you guys share my entire screen and go from there all right so the software that I was using is actually a software that was created by Amazon called Kindle Create and it's got this nifty little feature I think that allows you to kind of organize or guide a reader it was originally designed for people that did like graphic novels and comic books and things like that but I was like I could totally use this for artwork purposes so if you do decide to view this as an ebook through Kindle or something like that you're going to get a very difficult experience versus you know buying the paperback version because you'll be able to see oh I will get to that point so usually every page starts with a reading of the poem and then following that it zooms into different parts of the image before it's read and then we're immediately backing out to show the entire page and the entire book is set up in that same way and I thought that was when I discovered that I could do that I thought that was exceptionally neat and just from a like artistic perspective I just thought that was like a really good way to like get a sense of like the work that I was doing and I think having like a guided visual experience with the work and the poems is it adds definitely another layer of appreciation and even room for critique with that but I thought it was fascinating but these books they're all divided up into essentially there's 450 chunks so there's 200 short poems in total each book covers about 50 poems or so and I think that's kind of the way that I would see it this way is that you know that in the process of doing that you're very much high school and then the third was like high school and the last one was like all of college the fourth one and they're all about I have to say like the general subject matter is very dark because a good chunk of my early life pre from age six to almost now it has been very dark moments all throughout issues with my identity issues with my race issues a lot of issues with my family just all sorts of things and this book it was actually described when I showed a couple of the poems to a friend of mine he was like this seems like trauma processing and a lot of it is actually like that like this is a project that I am literally bearing some of the deepest parts of my soul and my psyche and every poem does have some bit of art linked to it the connections are much more blatant with some a lot more abstract with others like this one it's one of those more abstract ones but I don't want to give too much away like this is a book that I've been reading for a long time and I've been reading it for a long time this is the first 15 or so pages of what I've got worked on but it's been a very interesting project and I'd say I've I realized as I was working on it as I was writing these poems that I had not necessarily processed some things as well as I thought because I found myself getting emotional as I was writing them but I was able to process some things as well as I thought I had not necessarily processed some things as well as I thought because I was having a hard time like rereading some of them and recalling the stories associated with some of the poems that they're tied to and I broke down crying a couple times because I was remembering those times I was like wow that's still actually really raw for me right now and then and this is years after I had thought that you know I had properly processed and gone to therapy counseling over and it's like no it's those feelings are still very much there it's still very sensitive just wanted to make sure so it is yeah it is it's an experience but that's all pretty much I have to share about that we have any questions about that well post the link oh post the link yes sorry terrible at plugging myself right give me one second got my paperback one on the way already I'm psyched yeah this the first one of 50 is out so it's the first 50 poems are currently done published the actual ebook is going to be available on my birthday on thursday september 2nd so if you're waiting for the ebook launch that's the release date september 2nd the paperback is already available for purchase which several people have already decided they want to pick up so yeah six six four five great project Davo thank you very deep yeah you're welcome you pulled that together real fast I think you called me up like two weeks ago and you're like I'm thinking about this idea of putting together an ebook and like 200 poems later it's already on amazon it's like dude that's pretty impressive yeah see I have this thing where I can hyper focus sometimes and then other times like maybe you have some focus today maybe not but this one I think because it was just so close to the heart I was able to just get it all out in one go because I wrote those poems it took me four days to write 200 short poems and apparently that's not normal because I was talking to other people like you did what and how long I was like yeah it's it wasn't hard they're like poetry you wrote 200 short poems in four days like yeah is that's that not something that commonly happens apparently not the writing didn't take so long the art I had to take breaks because I was not sure on how certain things were going to actually look together so that took a little bit more planning but the actual writing that was the easy part for me it's the link in the chat Davo I oh I think I actually messaged somebody privately my bad there we go so Davo the ebook yes animations that's just the native part of using the ebook software or is there anything special you need to have the to get that so if I think I'm pretty sure that is functionality that only works if you're using a kindle and like using the kindle app and if you're using like a kindle app you're using a kindle app the kindle paperwhite I don't think you'll get that sort of functionality because the paperwhites are like really scaled down bare bones version of the app so it's just going to be page flipping as normal but like if you use the app on your phone or like on an actual like tablet then you would probably I think you're pretty sure it's supposed to work that way too I see like the regular desktop version and the non-kindle paperwhites versions of the and the software that you use a kindle what did you call it kindle create yeah it's called kindle create and anybody can get that yeah oh that's cool yep it's funny when you brought it up you know my first instinct was like well why don't you publish it as an nft you know and it's really interesting to think about how philosophically as a model of digital distribution you know this is the antithesis of the nft and you know I think it's really interesting to consider you know the idea of well you could make something available as a singular digital object for right however many eth or something that's available as an essentially open edition digital object and make it you know infinitely more affordable and accessible to a mainstream audience you know so yeah it's just it's something to think about yeah I did play around with the idea of actually possibly publishing each poem individually as an nft and having each poem as an individual piece of art with the but I don't know that might be too much there you go you could do both I mean yeah you can still do some of that later yeah so after this launch later you know revisit it as an nft rollout right you know in that format so it's yeah that's really interesting conceptually because then it's like you know somebody owns the original poem right paired with the artwork and then the then the then the ebook becomes a piece of documentation you know yep so it's been very interesting to work on and just get out but I think I think it's been waiting to happen for a minute because I had already had thoughts for a long time about writing something along the lines of an autobiography and I think it's been a long time since I've done an autobiography but I didn't think a traditional autobiography was going to be able to do my life justice so I had been kind of toiling with the idea for a long time I was like well I want to start writing poetry again and I'm doing art a lot more consistently than I used to so why not mesh everything into one thing and that's how this came about and I felt like I needed to act on this or get this started and I was like okay I'm gonna do this sooner than later otherwise me knowing me it would get put off to god knows how long so if I didn't get this out now and as quickly as I did it just probably would never happen to begin with hey dava what do you think about I don't know if there was anyone else lined up but I know that there's a couple people who are here for the first time and you know if anyone wants to just say hello introduce yourselves and let everyone else know a little bit about your practice you know we used to do that but I think it's been a long time since I've done an autobiography do that in the past before I sort of filled the whole time up so you know certainly anyone that like to is welcome to I don't want to step into the moderator shoes but you know figure that out there yeah I kind of got get in the mode of caring more about everyone else but yeah I am an artist too by the way if anyone was not aware of that fact but yeah I am an artist too and my work reigned is on like digital drawings and digital paintings with of course now poetry is added into the mix as well but yeah that's me you can see more of my work on probably my Instagram dava bradley art or go to my website at www.davabradleyart.net that's d-a-v-o by the way

## TinTin23x [01:30:00](https://www.youtube.com/watch?v=BbLPmZfJVOs&t=5400s)

And we have oh TinTin23x yes I'm sorry tintin wants to share share their work so are you are you there tintin no yes maybe can you can you hear me can you yes can you great yeah let me go here and we'll go there all right my name I'll leave with tintin 23x only because it's I kept using that as a my art world away from my professional world and I just seem to run by the way and it works you know that being said let me just double check that you can hear the audio on a piece do you have do you hear the audio coming up at all scratchy record not getting a thing okay well then I'll leave the video for each individual to decide if they want to see or not but my background after coming out of art school is an experience of you know I've been doing a lot of work on the art world and I've been doing experimental video artists filmmaker studying those people like at intro michael froggen sean gorlick I decided I need to make money so I indentured myself to the wonderful world of advertising and became a highly paid technician but that didn't really leave me a lot of time to make work and the original reason I did it was to get access to very expensive machinery to make work so being the sound photos and portrait postcards from the turn of the century and spending a dollar a shot making collages on color xeroxes this is early early 90s and at the time I was oh I was really happy with the images that had come up and I was really happy with the images that had come up and I started to realize that a lot of the pieces which you can see in two of these let's see if I can get a good one that shows a close-up on a piece the back of the portrait postcards would always include advertising for the photo studio and what I would do is always keep that as kind of a base layer to the collage and the collages were all built in the early 90s and I was really happy with the images that I had and I was really happy with the patterns of the descrip t of on to another piece and I was really kind of happy with the way that was turning out and suddenly I would have about 50 or 60 of these and I'd paint them up on my wall and I thought oh they started to look like storyboards and design elements to a piece and as time progressed and I got access to more machinery I was able to utilize these same techniques in creating a video work which is I'll actually include the link to my site in the chat for people.

I will just go to you, Bethany. Now, the piece itself, or the series of images, which I currently leave and sell off as stills, or actually some have been turned into NFTs at this point, became a basis for a video piece, which that in itself developed a narrative based on the structure and placement of pictures, which I always found really kind of amusing because I don't know any of these people, which is why when the first artist was sharing, and it was her image and family images and stuff, I thought, wow, that's incredible, because I'm using found photos of a similar nature of people I have no idea who they are, and creating kind of a false narrative or allowing the viewer to apply and bring their own narrative. The writing on the piece and my writings at the time were all based on the times of reading a lot of Sartre and Camus and the pieces themselves.

You know, I was like always writing either fleet form or poetry based on that because it was the early nineties and Sartre was an art school grad, so it was totally broken. And from there they developed into a video piece, which is the series of images and placement of pictures. This one located here. There's a whole slew of video on my site, but I just want to speak to lost and found, which is this piece in that series.

From the video itself, at the place I was employed, we started making really nice eight by 10 C prints from video. So I decided, oh, let me round trip this and take the skills which were generated on a color Xerox and then I'm going to go back and do a little bit of a And in some of them, you can actually see the imagery itself going from the collage piece built on Xerox, as you can see, to the image itself. And then I went from the collage piece built on Xerox, an upside down piece, to still printed from the video itself, which, you know, kind of created this whole series of work.

And the series itself being called lost and found, were the titles based on the fact that all these images and family histories and narratives were lost by people who either lost the photos or through an estate sale, the family didn't keep the pictures. And the family, the found part being either my acquisition, either finding or buying them or finding debris on the streets as I walked off the kinkos or the dead leaves and such, as well as the found narrative that the audience would bring to the video.

So that's, as I work in a series, I always found that kind of interesting. And to that point, just a quick gleam over some of the other series I do. Working through text again, you know, pulling lyrics from songs either at random or that I happen to be listening to or that I'm working with. And then through a random number generator, pulling images from my own library and compositing those all up into a whole series of pieces which are being done as 12 by 12 metal prints, of the size of like an album cover and sold off or gifted off.

There is a few other pieces and series that I'm working through. Signage per se is all based on the text of signs, street signs, road signs, and again random selected imagery to work those back through. My NFT thing, and I have to laugh every time I hear someone talk about making NFTs and Colin actually, you and I met and we discussed the NFT thing. The, I actually found a very interesting thing. I have a very carbon neutral site and I'm moving all my NFTs off to that.

But in the link is a link to my site and that includes a little bit more about my content process and my history. Does anybody have any questions on the Lofton Found series, the collage work or round tripping to video and back to print work or conceptually what was going on there? I'm going to ask you a question. Can you guys actually hear me? Yeah, we can hear you. Oh, okay. Yeah.

Okay. So now I know who Batman's real identity is, but I won't reveal it. But if you want me to- It's the month of Banksy. Why not keep it going? If you want to be added to the artist index, just shoot me an email or something with whatever sort of information you want me to include. And I was like looking through there and I'm like, is this the artist index? Is he in there? And I'm like, I don't think so. But I definitely would want to add you so that way it could be referenced when this salon is published.

So name is you want to be listed, country, city, Instagram link if you have one, website link if you have one, and that's it. Cool. Excellent. Any questions or thoughts? And while I have the mic, I just wanted to say that Zabina, I'm messing up her name horribly. I'm sure. But there's some beautiful work. There's some nice work.

Cheryl wants to see a few of your works up close. Oh, in, well, when you say up close, what particularly do you mean? I imagine- The website, this is, we are actually looking at the website. Yeah. And if you go to the website- It goes there depending on the resolution of the screen. Right. Or if you have particular requests, like certainties, this is not part of the Lost and Found series, actually. A friend bought a church and she's converting it into a performance space. So as a housewarming gift, I built that. Some of these up on the net are quite large, but if you do have particular pieces you want to see bigger, please let me know. The colors you're on and the digital photo pieces, those are native at HD size. And then some of these other ones go all the way up to like 20 feet by 30 feet.

Oh, geez. Yeah. It's nice to have access to professional level machines and storage. Right. Which, yeah, which honestly, I've been into it. I've been in advertising 30 years. Actually, I think I've done work for less. Mr. Musgrave, that is. Right. But it's, I never trust people that come into the business that want to do it to make money. It's only if they're like really interested in knowing how stuff gets done.

Or, you know, looking behind the curtain, so to speak, on making the magic. You know. But to that point, you always end up with a certain amount of time in your life that you don't have to do it. And you have access to stuff and you really get jammed up. So you have to make work with what you have available. Right. Whether it's pencil, paper, color Xerox.

Nowadays, cell phones. In the early 90s, the closest thing you had to a cell phone was the Polaroids or the one-shot cameras you dropped at the drugstore. Try and get film development out there. There you go. Right. All right. Well, thank you very much, Stanton. I don't think there's two. Oh. Too many questions. No. There was a compliment.

Oh. Michael says that he loves your compositional style. Thank you. And can't wait to see your videos once I actually see them. Oh. Just to preface, these are going kind of chronological. And I'm trying to dig up the stuff that fits in between the more recent and the really old ones. Because, you know, technology is like trying to find what works for what. Right. So these go from 89 through like music videos for my friends and other experimental videos or, you know, the sake of doing them. Some of them have been out like this one actually. This piece was featured on MTV as a bumper for a long time.

Usually on Sunday nights. But, yeah, there's a mixture of some commercial and artwork. And I always find that kind of interesting being able to mix commercial venues and really get like mass, mass audiences. I love gallery shows and setting things up like that. In fact, the Lost in Sound series itself, when I moved from one company to another, we were one of the first.

We moved into the space on 22nd Street and we bought the whole floor, but we only set up the first half because we didn't have the money for it. So I asked the EP and the owner at the time. I said, oh, do you mind if I do a pop up show in the back half of the space? So I lined the wall with about 100 of the color Xeroxes and I had about three monitors looping the Lost in Sound video. And 50, 100 people show up. It was awesome.

But sometimes the audience is a couple thousand at a time or it's a little mind numbing. But, you know, getting a feature or TV audience to see stuff is just really kind of intoxicating. But thank you. And I was actually thinking, oh, you know, I should share something soon. And when I saw Rubino's, I hope I'm getting your name right here, Rubino's work and you were like, yeah, if anybody wants to share, I was like, you know what, do it today. So I'm playing hooky from work for a half hour, hour.

Whatever works. Thanks again. No, thank you. Thank you. And then. I'm the interest of time is we have like we literally have like nine minutes left, but thank you for your presentation. I know we have two people that would at least like to say something. Victor, do you have something? You know, I had a quick announcement that I like to squeeze in before we stop recording. It's very short. Should I do that? I could wait till after the first the people that have been waiting or I could do it now. Whatever you think. Stephanie, did you want to introduce yourself really quick? Yeah.

I'm Stephanie. Oh, you're muted. Hi, I'm Stephanie Sydney. I've been preparing a slideshow that I'd like to present at one of these. Should I continue to figure it? Cause the last few had half an hour. To present. Is that still. Yeah. Yeah. Yeah. That's still the same amount of time. Yeah. So I think I can be ready. In the next. One or next. Whenever is good.

September 28th. Would that be fine for you? All right. I will pin see you in. But all right. We got our two present presenters for the 28th. Right. All right. Thank you. Thank you. And Victor. Okay. Yeah. I just wanted to. Just. Put something in the chat right now. It's an invitation to all of you. To. To come on the show. It's a LA SIGGRAPH event. On zoom. That's open to everybody. You don't have to be a member. Of LA SIGGRAPH. And it's actually on the evening of September 14th. Later. Those of you that are up late, it will start. At nine 45. East coast time.

Go for about an hour, hour and a half. And it's the program is. It's the main base of it as a prerecorded program of interviews with artists. That are. In the digital arts community. Some of the artists that were active in the 1980s in digital art, which includes myself, David M. Coco con and Michael Wright. And in, in a context of a. Organization called easy TV.

That was a very important alternative electronic arts video and digital art venue. In Los Angeles and they interface with LA SIGGRAPH over the years. And they're going to be doing four programs. Once every year. In spring of 2020. The 80s next year will be the nineties. The zeros and then the teens. Et cetera. So anyway, I put the.

Link in the chat and it's totally free, but you do have to register to attend. Got it. Thank you. Thank you for sharing. Sure. And I think Lee, you had one quick thing that you wanted to share or. Yeah. Yeah, I don't think there's enough time, unfortunately. I wanted to sort of follow up with a few things that I missed out in the presentation last week.

But yeah, I don't think, I think we need a bit more than six minutes. So I'll just hold my, plus I posted stuff on the Tech Specialist page. That's true. I had like a dozen, a baker's dozen of pieces that were, I think it was Patrick that was mentioning the Monet. Well, a bunch of people were talking about Monet's ruin cathedral and how he kept on going back and revisiting the same spot. And so I have a series, which I think I'm going to drop in NFTs. I have, well, I have 600 of them, but I'm going to whittle it down to about, about, about maybe maximum of a hundred of them. And it's this pool that I see in the middle of the mountain, which was condemned. So it's kind of like a ruined pool, a ruined pool.

And I've got it in four seasons. It's all different types of light from before sunrise to the golden hour and all the different seasons. And, and well, I put up a dozen of them there and I love feedback with any, from anybody about them. So that was my, my big thing. And I also show that the last time when I was presenting, I didn't have any of the flowers. So I was like, Oh, I go, I brought some flowers. And then last thing was a couple of new developments that I learned when I was in the hospital last week. But again, those are all on Facebook and those are all on the Instagram. So it's not like they're really crucial, but I just wanted to share them with everybody and get feedback. And thank you. Thank you very much for your time. And thank you.

Great presentation. Yeah. Some wonderful presentations. And I wasn't entirely sure, but Michael Price, did you have something you wanted to add? Yeah, just, just real briefly. Yeah. More of a, more of a kudos to the Techspressionist community and group. And for those who may be newer, I have a solo show that's starting this Friday, running through September.

And two of the Techspressionist artists in the group helped me with that and in doing some collaborative work on creating some AR animations for me, especially Lucy Boyd Wilson, who's in LA. She did the primary bulk of it, but also Carl Ramondi also was a consultant for me. And I appreciate her work. And then a friend of mine who's not a Techspressionist, has done a 33 minute long soundscape for, for the show. So I'm bringing a highly interactive technology based, you know, basis for my artwork in, in September. And it's going to be a really dense intellectually based exhibit.

And I need, I needed the AR and technology to help me explain what's been in my brain for a long time. So, so kudos, kudos to our movement, to our community. That's what we're here for. That's what we're here for. Sounds great. Sounds great, Michael. Thanks. Can't wait to see it. Well, see it in any way that I can. Yes.

All right. And Colin had one last thing you wanted to share. Yeah. So I just wanted to share some news. I just saw a few minutes ago that this was just posted. So I got invited recently to speak on Techspressionism by a group called Tahoe Silicon mountain. They're based in Tahoe in California, but it's largely Silicon Valley professionals, entrepreneurs and, and the, and the like, and you know, should be pretty interesting. So they just posted it on their homepage. I'm just pasting a link in there. Now it's going to be on YouTube live. It's a zoom interview, but it's going to be webcast to YouTube live and then recorded as well. So the timing worked out nicely. So I'll be able to, you know, drop a little bit of promo information about the salon opening up the next day for collab two and you know, hopefully get some good exposure out there to the group because you know, there's no shortage of artists to, to get the word out to, you know, in terms of, of interest with art and technology, but hopefully these will be some, some people who might actually be, you know, collectors or enthusiasts or non-artists who just are interested about what we're all doing.

So yeah, I just wanted to pass that on. All right. Sounds great. Holly, did you have, yes. I have a question, you know, it's like I'm new to the group and I'm there. I am. I'm so thankful for connecting with you people because for the first time in my life, I feel semi grounded, except you make me fly all over the place with all of your ideas and your creativity.

I, there are a couple of, of gallery directors in Manhattan who I know. Can I like suggest that they check the Techspressionism website and stuff like, can I talk about you and tell them to look at us? I mean, I don't want, you know, it's like, I don't want to overstep. Talk about, yeah, talk about like, just, just do it. Like you can talk about us. You can talk about. Yeah.

Thank you. For a couple of people, you know, that's, that's kind of like my new way of, you know, telling people about what this is, is you can't really be excluded. I mean, you're a Techspressionist when you say you are, that's, that's my philosophical take on this whole deal, you know? So, I would say anyone can be one if they want to call themselves one, you know, we're not going to be like, we're not going to like kick you out and be like, no, you're not one of us. I'm sorry. This is, this is the cool kids club. You're not cool. Sorry.

Totally. I think you really should talk a nice that when you see your tech prisoners, you, and that's, you are something like that's something you should make it like an NFT and it's totally decentralized. That'll be an interesting project. But we are right here at 4 PM Eastern time. So this is right at the end of our little Tommy. What are you showing us?

You're muted by the way. Just posted to the glitch artists collective. It's some interesting 3d model that as you rotate your screen, it does a sort of amazing. Amazing oh inter interweaving here you can sort of see how it's built on the edges though you see how there's like a black background that's a flat plane and then a bunch of red green and blue lines just sort of that will pass by each other sorry I didn't mean to take over really I was waving by yeah I saw you wave your phone I was like what is he doing cool thank you for that anyway back to closing out this meeting thank you so much for being here thank you much for attending and making this movement this community as great as it is because you're all wonderful people that it is my pleasure to be able to you know work with you all talk with you all and see what you're all up to and you know just having a space where we can talk about art and yeah everything else that we care about.

So I, I love this place. Let's just say that I love this place. And thank you so much. Thank you very much, Davo, for all your service and, you know, keeping this machine running. Well, thank you. Thank you. Here's, here's to our first year. Here's to tech specialism's first, our community's first year. Yay.

And for many more, right? Thank you. And thank you so much. All right. This is Davo and we'll be signing out. Three, two, one. Bye.