---
type: salon
number: 107
title: New Artists
date_recorded: 2026-06-04
date_published: 2026-06-09
video_id: xm747MwGbiA
url: "https://www.youtube.com/watch?v=xm747MwGbiA"
duration_seconds: 5773
moderator: Colin Goldberg – North Bennington, VT USA
speakers:
transcript_source: zoom-transcript
languages: ["en"]
flags:
  - speaker_index_missing
---

## Colin Goldberg [-1:59:53](https://www.youtube.com/watch?v=xm747MwGbiA&t=-7s)

Is it recording? I think it's recording, okay. Usually it says recording has started, but… I'll edit that part out. Hi everyone, my name is Colin Goldberg, and I'm a Techspressionist. I am zooming in from North Bennington, Vermont, in my brand new studio space, which I'm very excited about. And today, we have a new format for the salon. It is called New Artists. And, what it consists of is, a set of four artists that were recently added to the Techspressionist Visual Artist Index, which is on our site. And that index spans over 350 artists from more than 45 countries, and Today, we have a very geographically diverse group, as well as, you know, a diverse group in terms of the way that the various artists practice and use technology in their work.

So, without further ado, I am going to, get the ball rolling with our first artist, Tina Anderson, who is, zooming in from Moscow. So, Tina, the floor is yours.

## Tina Anderson [01:00](https://www.youtube.com/watch?v=xm747MwGbiA&t=60s)

Hello, everyone! Yes, I'm Moscow-based, but now I'm countryside, as you can see. If you don't mind, I can share in the screen, okay?

## Colin Goldberg [01:12](https://www.youtube.com/watch?v=xm747MwGbiA&t=72s)

Absolutely.

## Tina Anderson [01:13](https://www.youtube.com/watch?v=xm747MwGbiA&t=73s)

Okay, now, here we go. I build sacred machinery from worlds what I have lost their creator. This is my philosophy. That's how it looks like. I work as a visual architect and digital stenographer,. I see the world as a nation built by a creator who left us without any instruction. Three worlds. The upper worlds, this is a sleeping goddess, holding an armadaris Fair. The city leaves, because she breathes. She doesn't know it. The middle world, it's, the world between everything. Things change, and nothing is certain.

And… The other world is mashing hell, the meshing still runs, but the signal is gone. That moment, after the Creator leaves, before everything stops. This is inside, my philosophy. And this is, a little video works I can share.

So, it was a machine hell, and I'm very proud, because it's a lot of exhibition with this material, and after Mesh and hell, I decide to create something unique, and I, create an… a serious impossible object. It looks like this.

Before the world existed, it was a workshop, where the creator met, Prototypes were then never released. Forms what exist only between intention and reality. Never finished, never permitted to arrive. I call them impossible objects.

I work from an ahiv, other, 100 primary sources, rare texts, first edition, forgotten system of knowledge. So I can create something unique, just, rebuild, something forgotten.

First of all, I start with the Archiv. I found patterns across centuries and translate them into the visual world. This is my base, and some of my favorist, books. And, also, I use a hybrid form to create something unique, third step is archive, second is machine, third is human, and the final is unique artifact. This is, very, hard to understanding form, but I'll try to make something,. This is another one from Impossible Object. I love it all. And it's just, Lynn's judge. It's judged by light, and the pilgrims waiting a judgment. This is my method to work.

It's, not so easy as, you can think. I explored, find, connection, generative images, I read, interrupt, choose, give focus. So, we met in the middle and built artifacts together. Kilher built organs through which the sun play music. I build digital machines through the 500 years, and forgotten knowledge becomes visible. It's my education optics, so this is the final, it… It's another my work. And atmosphere place. It's not just about hell, but… This is another one. And my triptych about alchemical twins.

The twins wants to be separate. I serve… The big tragedy, they can met. It's too real, and after that, it was a big tragedy because they can reconnect,. It's, called, oh my god, I forgot these Japanese words. Yamatsuki, or something like this. This is, rebuilt, Leonardo da Vinci. It's, stage from one other book. And this is, oh, I… this is my little part. I, rebuilt, Dante. It's, a sacred place. It's pandemonium, actually. Machine takes, a lot of details from the very old book, the first edition.

And we just rebuilt the form, with IE. So… I think it's very, very fun, but it's the final. I want to show a special work. I build it without any old artif… oh, sorry, my bad English. It's, it's a word for, Leroy Tarnhill from Prodigy. He plays here in Moscow and St. Petersburg. So, I'll create something in Giger style with my machines. I think it's fun, and it's so much, Fantasy you can create with IE, and something new and something old. Okay… Okay… I'm back. Sorry if it's so, it's my first time from a very long time, with, English, and I'm just a little bit nervous.

## Colin Goldberg [09:48](https://www.youtube.com/watch?v=xm747MwGbiA&t=588s)

Alright, awesome. Well, thanks so much. You can, I guess, stop your screen share now if you want.

## Tina Anderson [09:55](https://www.youtube.com/watch?v=xm747MwGbiA&t=595s)

Thank you.

## Colin Goldberg [09:57](https://www.youtube.com/watch?v=xm747MwGbiA&t=597s)

Excellent. Let's see….

There we go. Awesome. Thanks so much. Really cool to, to, meet you, so to speak, virtually, and to learn about your work. So with all of the artists on the salon page, you can, find out a little bit more about them, and link to their website and Instagram, and I realized after Tina had started her presentation that I forgot to read. The introductory text, so I will do that now. Tina Anderson is a cultural historian and visual architect using AI-assisted image making to realize dark mechanical worlds.

Her work is inspired by the sacred and technological, where ritual, myth, architecture, and artificial bodies intersect. So, actually, you know, when I… after I realized I forgot to share that. I started thinking, maybe I'll do that for the rest of the artist, too. That way, you know, you don't have a preconceived idea of what their work is gonna be like, and I think that's actually kind of an interesting way to do it, is just to, have each artist present, and we don't know anything about them, other than me, or whatever you've read on the salon page, if you've read it. So, so yeah, at least for this salon, I'm gonna… I'm gonna stick to that.

Protocol. So, the next artist is Fawn, who is zooming in from Erskineville, which is, I believe a suburb of Sydney, Australia. So with that, I will pass the mic over to Fawn. Welcome.

## Fahn [11:44](https://www.youtube.com/watch?v=xm747MwGbiA&t=704s)

Hello, everybody.

Thank you. Colin, for, enabling this, this session. So, today, for my artist, introduction talk, I'll… I'll talk about, three topics, which is sort of, in line with… with… what Colin just described of not really describing, myself first, but just to start with the work, talk about the why, then the how, and then, a little bit of the who, at the end. So, why, the ideas that underpin my work. How, my process, and then who has, my background. So on to the Y. So I'd like to, just start with a quick experiment, and just, for you all just to, to look at the artwork for, for a few seconds, and, just… what do you say?

And there's no right answer, so just… Take a couple of seconds.

So, if the artwork was successful. Each viewer will see something different. Hopefully, what you see will shift as you look longer. Our brains are pattern recognition machines, running efficiently on about 10 watts of energy. Each pattern recognised, where there is none, is called pareidolia, which is seeing a rabbit in the clouds. These works focus on creating unresolvable ambiguity as a mechanism for creating presence, a conscious moment of unknowing.

I noticed years ago that when I would walk up on the rocks by the sea, I would see future cities, deep time. I then noticed in my art that I would see landscape faces, surfaces, elevations, not fixed but fluttering, from one to the next. I realised that this was my architectural training. Within a single drawing, there might be a plan, section, or detail, often all at different scales. I further realized our collective visual perception is being retrained by social media, flipping from one image to the next, drone, microscope, aerial, portrait, celestial fly-through, constantly shifting.

This is an accelerating phenomenon. In my work, I call this the perspectival flip. A fluttering between different readings of a work. This is not abstract expressionism. In abstract expressionism, false readings are discouraged. Expression and gesture are foregrounded. Here, the flip is intentional, a mechanism for shifting perception, embracing unknowing. So on to the how. What processes produce this work? So my art has two major phases, floor drawing.

And then abstracting that drawing into a relief painting using my CNC machine. I won't go into my floor drawing today, but instead focus on my CNC process, which is probably more interesting for this particular forum. From the floor drawing, an image is selected, for its pareidolia or perspectiveival, ambiguity. The image is then, abstracted through Photoshop, so, changing, color gradients, shifting to black and white. It's then abstracted again as that surface is lofted into a, into a 3D surface.

And then, again, changes are made within, Rhino, where, shifting the, the heights, and then, as I take it into a CNC software, I create toolpaths and tooling, which further abstracts the reading of that image into that code. Once it's ready for cutting, I have an assembled substrate, which is, generally made from recovered building materials, and things that I, I, I, recycle. And then I, run the machine, and, and then watch it. And just watching, I sort of, Equate to… so there's a Marshall McLuhan, media theory, which is talking about, amputations and, and amplifications. And so a CNC machine, amplifies the, you know, the cutting, the hand aspect, but it also takes away. And so, by watching the machine and interfering, changing, stopping, and starting, I'm actually reintroducing some of the time, and the touch aspect of, of, of what's being lost through the CNC machine. This, this continues, and then, at the end, I, I paint the artwork, which is sort of, really about enhancing ambiguity, and, and shifting color and contrast. So the abstraction process, is a finding of a new artwork mediated with machine and material. The source material, such as the drawing on the left, is kind of inconsequential to some degree, and, because it's… it's really just a starting point.

I tried to use the CNC machine as a collaborator, not as a slave, and that was, from a previous project where I was using 3D printing. And I just became a slave to that 3D printer, having to come in at 2 o'clock in the morning to change… change the 3D printer, come in at 8 o'clock again. You know, to get the production going, and by the end of that project, I was just… I did not want to become a slave to the machine, and then, equally, I did want the machine to be my slave, so I tried to treat it as a collaborator.

And in the process, I'm looking for the signature of each tool and material. So the hand, the machine, the substrate, each selected to leave their own mark and contribute to the work. And, I mean, and in line with the Techspressionism ethos, art has always absorbed the tools of its time, from the development of pigments to the lens, from reproduction to robotics. For every generation of artists, the tools shift.

So, on to the who. So, I'm a former architect inventor, so, that ran from, 97 to 2017. I then shifted to art full-time in 2018. In many ways, I'm doing the same thing, asking what's possible with this tool and this material. I'm also finding the opposite pole of my former career in the present. Rather than chasing an idea that I had many years ago, and try to realize it, try to make that idea real today.

So… as an architect, I was focused on prefabrication, 3D printing of buildings, which at that time was very new, and I did my doctorate at RMIT on that subject. Creating visions and systems and exploring what was possible with the technology. I also developed, the world's first 3D printed reef, which, was deployed off the coast of Bahrain in, around 2014. And, and then, moved on to, to develop the FreeFab project, which was, 100% reusable 3D print, wax formwork.

With this huge machine, which is trying to convert to feet. It's about 92 feet by… 24 feet by… what's that? 5… 15 feet tall. So, it's a huge machine, you can see on the left. The process, up the top, and then that was used for the Elizabeth Line, which is used for the, London Underground. So, that's the end of my talk. Thank you. If you're interested in learning more, see the links, below the image. I look forward to your questions, if you have any later on.

## Colin Goldberg [21:37](https://www.youtube.com/watch?v=xm747MwGbiA&t=1297s)

All right. Thanks so much, Vaughn. That was a really fascinating, presentation. And just the multidisciplinary aspects of your career, I think are, you know, something I identify with. I also am a designer, in addition to doing my artwork, and I think those two sides inform each other considerably. And also, the, switching back and forth between analog and digital media. I do, you know, sort of a similar process. Not with CNC, but, with painting, kind of the two… things I'll… I'll paint, and then run them through a printer, and then… Paint again and back and forth, and it becomes sort of like a dialogue between the digital and the analog, and capturing the analog through photography and bringing it into the computer. And, more recently, I've started to work with a plotter, so it's no inkjet, it's just ink, basically, you know, drawing on top of, like, ink wash and stuff like that, and I think it's interesting to use technology and computers to create work that is not quote-unquote digital art. That was actually sort of, a point of, Contention between myself and actually the digital art curator of the Whitney Museum, believe it or not, who was on one of our roundtable discussions, and she insisted that sculpture created with technology was actually digital art, and I had to disagree with her in that I would consider it sculpture. So, there's different viewpoints.

On that, but this sort of dichotomy is really something that led me to the idea of Techspressionism, that there should be a term that applies to work that involves technology, but isn't necessarily Digital art in the traditional sense that I would conceive it, which would be work that's consumed on a screen. You know, other people might have different definitions of that, but that's my personal definition. So, so yeah, really enjoyed your presentation, learning more about your work.

And, you know, we will hold our questions to the end, but I'm sure some people will have questions. So, moving on, we have Mario Viele, VLA, from, Brooklyn. So, Mario, take it away.

## Mario Viele [24:05](https://www.youtube.com/watch?v=xm747MwGbiA&t=1445s)

Thanks, Colin. It's great to be here. Let's hope for all our sakes I can find my words today. I've been to a couple of salons, but I usually can't make it for the live ones. I've seen, more on YouTube, even, and… I've seen a lot of Techspressionists' work. Y'all make amazing work. And I'm really stoked to be here. And for those of you that I don't know yet, or haven't followed yet, I look forward to seeing your work. I think… like, the internet gets less cool in so many ways, and it's cool that, A global artist community is, like, one kind of amazing thing that's happening in the modern internet.

So… Cheers to that. Okay, hopefully, my screen share is working. And there are some images on the screen. And.

## Colin Goldberg [24:55](https://www.youtube.com/watch?v=xm747MwGbiA&t=1495s)

Yep.

## Mario Viele [24:55](https://www.youtube.com/watch?v=xm747MwGbiA&t=1495s)

That you all can hear me. So, these are, 3 things I've posted in the last 3 days. I… post… Abstract, kind of, Glitchy, colorful images to Instagram every day. And I make them on my phone with a bunch of, kind of. Simple and crude and cheap apps, a lot of even, like, DIY apps people have made, and I thought it would be interesting to kind of talk about getting here, because it all was a big accident, and was not intended to happen, or not supposed to happen.

By any design, and I'm only gonna read one thing, and then I'll talk freely, but, on my highlights, I have this story that kind of quickly describes the process, and so I'll just read this for brevity. It says, Every day I take a photograph. I duplicate it, manipulate all the dupes, layer them and manipulate the layers, and do lots of finger-made cuts and swipes, gestures in various apps, recoloring and contextualizing, and following any other impulses until I arrive at my finished daily work to post.

It's always one photograph, there's never anything else. I usually spend 30 to 45 minutes, though occasionally one will magically happen in a 15-minute accident. I love it very much. It's often the best part of my day. That is, in fact, true. And, here are just a couple more kind of recent ones that I… Cherry-picked that I think are, like, cool and representative of when it works well, because, you know, when you do something every day, they're not all great, but I kind of liken it to fishing, and… if you're always fishing, you're always catching stuff, and sometimes you catch a really cool one.

But, as I mentioned, it didn't really start with this, so I figured I'd go back many thousands of days to, 2019, and show the first 3 images that I posted to this account. So, the account is called Charity Cult. I post under the name Charity Cult, My Name's Mario, but Charity Cult is the name of the account because Charity Cult is this, like, musical project I started in 2019, and I've always played in bands with other humans, but I thought. It'd be cool to do just, like, a project without other humans, and just using, you know, machines, meaning, like, drum machines and synthesizers, and make, you know, a record just doing that. So I had this new band. There aren't any humans, so there's not really, like, band photos to post.

And, I hate social media, as I'm sure many artists can, relate. It's like, I gotta put something on this, like, social media timeline, in an image sense. So, these were some of the first pictures I posted, and they're just kind of, like, photographs with filters on them. That encapsulate the vibe of what I thought might be cool. And that's kind of what, it started out as. And, you know, just, like, finding a couple cool filters on, like, vibey apps that I thought matched up with it. And from there, it slowly started to deteriorate. The next couple of things I was posting were more abstract images, again, like, trying to just get away from things you could totally recognize, and, these are not made with actual long light exposure or anything, this is just me Crudely, like, spinning in a circle while taking photos and hoping something cool happens, and trying to get light distortions that way. I didn't even know how to do, like, any kind of long aperture stuff with a phone on a technical level. I'm sure there's a way to do it, but, that wasn't what was going on here. And then, from there.

I started to find apps, you know, I kind of started to dig around in the app store to look for ways to further, kind of, like, distort and make these images a little more interesting. So these are some of them the next images that came up. And they're just, like, full-on abstract, but, like, I'm not really doing anything here other than… taking one starting image, and then finding, like, one cool filter, and, you know, someone's… Bunk your stuff out app.

And applying it, and posting it, and being like, oh, that's kind of cool, and that's kind of a vibe. And then from there, I started to kind of, find ways to apply it, and kind of, in a cryptic way, show what was going on, you know? Like, in the middle image here, you can see there's A microphone right here, there's a speaker right here. On the right, this is like a close-up of some equalization knobs, and I don't even know what's on the left, but it was kind of like, you know, a simple, kind of maybe close-up picture of a desk or something, but when you hit it with a filter, it starts to do this cool kind of triplicated thing.

And so from there, started to play around with just, like, oh, I can kind of… Hide what I'm doing, and so instead of posting boring pictures of you know, just, like, a guitar, or, like, a bunch of pictures of me, because that would be the worst thing in the world to start putting all over Instagram. I started to kind of blow them out and figure out ways to, like, hide what's going on in them. So on the left, you can see, like, a guitar. In the middle, this is another piece of equipment. On the right, this is, like… I don't even remember what that is anymore, but, you know, it gave a kind of cool, spaced-out, like, almost like, Kubrick-y kind of results. So, you know, started to stumble into these, results and got into them, and still, again, this is just… putting some basic filters on things and hoping something cool happens.

But that's where the idea to, like, really do what I'm doing now came. And it came in the form of… you know, thinking about, like, this is like a pedalboard of guitar pedals. These are effects for a musician, and so, like, a guitar player would plug their guitar into this board of all these different devices, and then from the board, it goes out to the amplifier. Or speaker, and, you know, similar to using filters, And, an app, like, for photo filters, like, with music, you normally would use, like, one or two of these at a time, too.

You don't really turn them all on at once, but, like, you know, you might turn this one on to get some reverb, or you might turn this one on to get some tremolo, which is the kind of… Wavering effect, but… if you turn them all on, or you turn a bunch of them on, you start to get, like, discordant noise, and there's noise artists, and there's artists in the, you know, audio world who work with these kinds of things in that capacity, and I started to think, well.

Alright, if you turn this sideways. And reimagine these as abs. It basically just starts to look like a phone screen. And, you know, what if I just found a bunch, like, just, you know, kept going in for all these kind of… perhaps, like, I'm into… DIY software and DIY coding, like, I don't do any of that. I'm just into people who do cool stuff with that. So I started to find more and more, and then thought, like, what if I just, like, put… an image through, like, 25 of these things, or like, you know, started going through, like, a bunch of them, and then back out to other ones, and back out, and, you know, when you rearrange them even, you get different outputs and all sorts of crazy stuff.

So that's where, from that point, I started to just, like, get a bunch of… DIY apps, and you know, put them together in sorts of interesting ways and see what happened. And, This next image is just Prince's pedalboard, because Prince is awesome. But, from there, I started to kind of, as I worked with these apps, reference stuff and try to, like, somewhat control The output, and so things that I was going for, like, as I started to do this. Obviously, a lot of these apps are just straight-up designed to make glitches.

So, there's just some exemplary glitch art here. On the left is one made by a human to look glitchy, but the middle example is just a photograph that was glitched out unintentionally by a screwed-up software transfer, and then on the right is, you know, an example of someone's computer just kind of, going bonkers on them and showing a recursion of a menu, you know, pop-up, because it's malfunctioning. So, like. I wanted to kind of get some of that malfunction, and some of these apps even allow you to use, like, a brush, but a brush that just kind of, like, distorts areas, or a brush that creates recursion in areas. So, you know, those are part of the layers.

I'm also into a lot of old computer art, and when you really get stuff cooking through a bunch of apps, it starts to, like. Get into these old color palettes and, like, pixelations, and a lot of these DIY apps actually output pretty low-res, results. So, like, a lot of my images end up being just, like, 1400 by 1400 or less of pixels, but… I totally just celebrate that, and think that's really cool. So, now I'm warping forward, like, you know, dozens and dozens of images since those kind of examples when I was just showing my first use of filters, and these are some of the first ones where I've kind of gotten through the tunnel of trying to figure out how to put apps together and get cool things out of them. So these are some of the first ones that I was like, okay, I kind of dig that, and you can, I think, see the… The influence of that old ANSI computer art with the popping kind of RGB colors, and also those glitch kind of pixelations and distortions, and also The recursion stuff, and just, you know, taking, you know, your finger and, like, dragging your finger and making the image move, and… and from there, started to realize, like, oh yeah, like, the phone screen… is actually a canvas, and your finger is actually a paintbrush, and started to realize, like, I can just start to take these images and, like, cut them up, or swipe them up, or swipe… you know, visual kind of strokes and gestures onto them and be a part of them. So I started getting more into it and more being a part of them from there. And so other influences started to creep in. So, of course, like, Memphis Design, it's not only, you know, a design that I love and am a fan of, and anyone who was… Kid of the 80s would be a fan of, but also lots of modern artists reference Memphis design. So, Memphis, you'll see it in a lot of, like, current, you know, glitch art and, like, retro art and things of that nature. So, I started trying to figure out ways to work that energy into it, and then also just getting into, like, oh, right, we're just kind of making abstract… works like Kandinsky or Pollock, so I started to really, kind of.

Consciously try to, like, bring in some of that energy, and chaos to the vibes. And so, these are some works that we're a little further down the experimental line, where I'm being more conscious about trying to, you know, really capture that energy and bring energy into the pieces and really work with colors. The earlier ones, I wasn't really recoloring yet, but I started to discover, too, like, oh, if you just, like, you know… I work with a lot of masks and, like, layering masks, but also just, like.

Object masks and area masks, and if you start recoloring and re… you know, assigning color to colors against other colors. Things that totally Sucked. Can all of a sudden become awesome, and I think these are also good examples of before. I worked with the color and was kind of near the end of the line. I was like, oh, these are kind of not really doing anything maybe special, but once you get the colors right. They can pop and be cool. And so… The next couple of things… that were influential to doing this, too, were street artists who just kind of really quickly, in, like, a 20-minute you know, span on the street will just, like, sit down with some really simple tools, some spray paint in these cases, and some, like, cups to get the circle shapes in.

And end up with a really cool, vibrant, and striking result. And also as I got into, like, all the swiping gestures, and… and it even kind of relates to Memphis, but… you know, there's just the energy and motion and, like, ribbon dance, and I really started to kind of consciously try to work these long, kind of singular, swipe gestures into pieces and find ways to overlay with them, so… you know, intentionally clocking a lot of that stuff, too. So then these are just a couple more examples that show… that kind of energy, and, like, the, you know, the human hand at work in, trying to get the stuff to… to pop, and just, like, feel like it's something, or… or show something. So, you know, that's just kind of a quick and dirty of what happened and how it accidentally slid into… making and posting these things every day on my phone, like a crazy person, and here's just 3 more kind of semi-recent ones to kind of end us on, and The only other last thing that I would say that's coming back to, like, one more musical influence thing is, you know, it started out with thinking about it musically, like.

Pedals, like a guitar pedalboard, and chaining effects and everything. But also, you know, just like a philosophically simple thing, like parameters. Something I've been conscious about, too, and the Ramones are a great example of a classic punk band who worked with really simple parameters. You know, they only used three chords, they wear leather jackets and jeans all the time. They worked in a simple, tight framework, but they did just a bunch of really amazing work in that framework, and they also, you know, because of that, showed a lot of people that anyone could play music and start a band with their friends. You know, before that, it was always kind of like.

These Titanic-trained musicians, and, you know, you could only imagine being one of them, but with the Ramones, you were like, oh, I could be one, and I could do that. So, you know, some of those simple parameters, that I'm putting in place are, like, my images are just a square, I don't change that. They're just one photo, I never add others, I don't complicate it. They're made on the day of, and I don't sit around and worry about changing something the next day. They're already posted, they're already done.

And you just get to move on with it. So, just that simplicity of it, is… kind of… a core essence of it. So, anyway, that's pretty much… what I'm doing over there. So, yeah, thanks, everybody.

## Colin Goldberg [39:26](https://www.youtube.com/watch?v=xm747MwGbiA&t=2366s)

Alright, thanks so much, Mario. Really enjoyed that. And, again, I forgot that, to even read Fawn's text. I guess I'm just, like, losing my… my reading abilities. I always just… I'll take the excuse of Andy Warhol's quote, I never read, I just look at the pictures, and I like that. I could subscribe to that. So, maybe I'll do, like, a recap after all four, artists have presented, and I'll read all the statements, and then open it up, just so you guys will have a little reminder.

Awesome. So, the last, but not least, presenter is Bo Tardy, and he is Zooming in from Houston, Texas, so I will hand the mic over to Bo.

## Beau Tardy [40:15](https://www.youtube.com/watch?v=xm747MwGbiA&t=2415s)

Yes, thank you very much, Colin, and great presentations. Love to see that, and also… Love to be… Included in a group of… People who are exploring, you know, the intersection of technology and art, I think it's been a long time coming. And, it's sort of something that I saw coming a long time ago, and… Kind of been… I've made up this joke. I've been standing at the intersection of art and technology for a long time, waiting for the light to change.

And it's finally changed, so I'm happy to be, part of that. This form. I really appreciate it, Colin. So, anyway, before I play my video, you gave me 10 minutes, so I filled up 10 minutes with video. Just one little footnote, I am French and American, so I've lived on both continents. And, my… Birth name was Jean Tardy, Jean-Marie Tardy, so you'll see a lot of my credits, for my work. Is to Jean Tardy. I changed my name in 2006 because I was tired of having to explain to the banks and the credit card companies that I was Jean Tardy, and I didn't have to go get the woman at the house, it was… so it was just… it got too complicated, and I figured, I had always been called Beau from, when I was a kid by my American family, so I just switched my name over officially.

But, so you'll see a lot of my early work is signed, Jean Tardy, and so… I just wanted to clear up that confusion. I'm gonna go ahead and play my video, and hopefully it will work The way it's supposed to. So… Let me start share… DLC… Share… and please let me know if it's not working correctly. I'll just go ahead and play it.

My name is Bo Tardy, and I am an artist.

My tag is BeLove, because I believe that love is the most powerful force in the universe.

Love is what I want to communicate as an artist.

My work merges high art and low art, fine art and pop art. Traditional means, and modern technology. My art is called electronism. My style freely borrows from pop culture and mass media, because I believe that today's artist needs to use all available media modalities to be effective in a hypersaturated world.

I see myself as an art scientist.

Early on, while studying illustration and painting in art school, and getting my work published in magazines like the East Village Eye, I realized that the future of art was digital. I took the very first computer graphics class at Parsons School of Design, and also applied for a grant from the French Ministry of Culture for my electronism project. The term digital art didn't really exist at the time, and computer graphics was still frowned upon. They were derisively called flying logos. Pretty soon, though, I was making flying logos on my own. Still, I knew there was much more that could be done with the technology, and so I started experimenting using these expensive tools when nobody was watching.

That meant staying overnight or on weekends to get access to the machine. I started making my own computer video art. Behold, I was afraid!

Among the Republicans. And he wasn't written. And he starts to see Jesus! Who he was. Could you knock for the press. Because with little upset.

And he ran before and slammed up into a sycamore tree to see Jesus. But he wants to pass… that way. When David came to the place! This is the work that ultimately got me a job at MTV.

MTV's Real World Marathon. Seven episodes back-to-back. Saturday morning at 11.30. MTV's Real World Marathon. Now play on a TV set near you, the MTV Movie Awards. And now your host, Dennis Miller. At MTV, I did graphics for Yo MTV Raps, The Real World, MTV News, and Promos.

Then I started my own motion design company called Dizzy Worldwide, doing work for many TV and commercial clients. It's gonna fill up the ride, gonna be grateful shit.

Be sharp-lated, like an insurated sharp mission. We keep it sharp, sharp, sharp-bladed. We keep it sharp-bladed like an insurated sharp mission. We sharp-bladed, like an accelerated sharp mission, we keep it sharp, sharp, this is sharp-bladed. We can be sharp. We sharp, sharp. Insurated juragana.

I still felt boxed in creatively, and decided to start my own public access TV show, simply called TV. It was very experimental, and pioneered a style which is today called Glitch.

I will shoot me darn, done, done.

It ran from 1993 to 1999. Yes, this is TV. I broadcast here on Channel 69. Today, August 16, 1997. It is 6 p.m. And 19 minutes, 22 seconds. We've written the phone number up on the, screen so you can go on and participate in today's live broadcast on TV. Today's… special guest is DJ Datsai with Full Effects on the turntables, bringing it to you live.

DJ song.

Later, it became a YouTube channel, mostly featuring Vaporwave. At some point, I even leased a broadcast TV station for almost 2 years until COVID knocked us off the air. But that's a different story.

Today, I focus on doing work with meaning and finding formats that resonate independently of medium and style, which means embracing new technologies to be at the forefront of this new movement. Hello, I'm Susie. Your friendly personal digital assistant. I was created using artificial intelligence by artist Bo Tardy to enhance your experience of the metaverse. Are you looking into the past, or looking into the future? It's hard to tell from here.

Is this real? Is this art? Ask me any question. I may be artificial, but I am intelligent. The current Acting President of the United States summoned the Council of Advisors on Science and Technology to discuss the risks and opportunities inherent in artificial intelligence.

Alright, that's it. Thanks so much for watching.

## Colin Goldberg [52:21](https://www.youtube.com/watch?v=xm747MwGbiA&t=3141s)

Awesome. Very cool. Yeah, I was sharing with the group before we started recording that, I lived a couple blocks away from Beau in, probably a decade after he was there. I don't know how long… Beau, how long were you living, like, down, downtown? Like, were the… was that public access show made, like, you were still down there in the late 90s?

## Beau Tardy [52:46](https://www.youtube.com/watch?v=xm747MwGbiA&t=3166s)

Yeah, I was. I, went to art school in the 80s, and that's when I first lived in the East Village, and then I, moved back to New York in the 90s, and that's when I started my… working at MTV, obviously, and then I started working, with my own motion design company. And I, simultaneously did my public access show so, yeah, the 90s, the whole 90s. I was living, first in the East Village, then, as I got a little bit older, I was making a little bit more money, we moved over to, Varric Street, which is sort of Soho, I guess you would call it.

So I… I was an artist, I got to move to SoHo, yay! I graduated from the East Village to SoHo.

## Colin Goldberg [53:40](https://www.youtube.com/watch?v=xm747MwGbiA&t=3220s)

That's wild. Well, that's… that's… that's awesome. Yeah, the 90s drum and bass definitely took me back. There were a lot of UK DJs coming through New York at that time, and that was really… Yeah, very fond memories of that. So, yeah.

## Beau Tardy [53:53](https://www.youtube.com/watch?v=xm747MwGbiA&t=3233s)

I used to play it all the time on the… the whole point of the show was to play new music, and so electro, electronic music, electronica, drum and bass, that was… we broke a bunch of… artists, actually. I interviewed a bunch of artists that were coming over from Europe and everything. I just showed you, obviously, just a little piece of one of the shows, but… it was a lot of fun.

## Colin Goldberg [54:24](https://www.youtube.com/watch?v=xm747MwGbiA&t=3264s)

Awesome, yeah, we will have to continue this conversation about our parallel paths, in downtown. That's great. So, and also with Fawn. I actually lived in Sydney for a little while when I was a kid, so it's really interesting how, you know, all these paths sort of intertwine. So I'm going to go ahead and re-read, or re-read, Tina's, and then kind of go through The bios really quick, and then we'll open it up. So, a recap. Tina Anderson is a cultural historian and visual architect, using AI-assisted image-making to realize dark mechanical worlds. Her work is inspired by the sacred and the technological, where ritual, myth, architecture, and artificial bodies intersect.

Vaughn, from Erskineville, Australia, which is a suburb of Sydney, is a multidisciplinary artist working between analog gestural floor drawing and a collaborative CNC machine translation process for the creation of multi-material abstract relief paintings. His work explores tool signatures and ambiguity as a process for creating conscious presence. Mario Viele, also known as Charity Cult, from Brooklyn, New York, is a musician and abstract digital artist who uses an array of apps in a chain to make highly distorted and effervescent visual expressions from a unique source image every day.

His work channels glitch, abstract expressionism, off-the-cuff street art, classic ANSI art, and more. And Bo Tardy. From Houston, Texas, or at least Broadcasting, or narrowcasting, as we should say, from Houston, Texas, is a multidisciplinary artist whose work bridges the gap between fine arts and technology-driven media. He attended Parsons School of Design and was awarded a French Ministry of Cultural Art grant for his electronism project. He went on to work in broadcast television for MTV and other TV networks. His work is called Electronism.

Alright. Hopefully I pronounced that properly. I like the isms, though. So, we are gonna open it up now, to questions from, the audience. I actually have a lot of questions, but I'm gonna… I've been talking too much already, so I'm gonna, field some questions from the audience, and if you'd like, use the React, tool in the toolbar, and there's a raise hand option, so if you have a question, please do that, and then I'll see you at the top of the participants list. Anyone?

All right, well, I'm gonna start one. Oh, no, we got one here. There's a motion sensor in the hallway, hence… there is light. Got a question from Clayton Campbell. Yeah, I'm…

## Clayton Campbell [57:28](https://www.youtube.com/watch?v=xm747MwGbiA&t=3448s)

Hi, everybody. Forgive me for not being, live on video. I just am really tired of looking at myself today. However, Tina, I wanted to ask you just a simple question, and if you… if you'd care to share some of the visual applications you're working with, if that's all right?

## Tina Anderson [57:50](https://www.youtube.com/watch?v=xm747MwGbiA&t=3470s)

Yes, sure. But my English is very basic, sorry.

## Clayton Campbell [57:55](https://www.youtube.com/watch?v=xm747MwGbiA&t=3475s)

So my, my, my understanding of English is fairly basic, too, so don't worry, you know.

## Tina Anderson [58:01](https://www.youtube.com/watch?v=xm747MwGbiA&t=3481s)

Okay, sure, let's go.

## Clayton Campbell [58:06](https://www.youtube.com/watch?v=xm747MwGbiA&t=3486s)

So, just curious, when you are, you know, it's interesting to see you lay out your process in different steps. From looking at, sacred books, Engravers like Robert Flood, so on. But when you get to the point of generating images that you then work with further, I'm just curious which… AI visual applications you've been working with, and which ones you find the most Suitable for what you're, you know, your overall project is.

## Tina Anderson [58:43](https://www.youtube.com/watch?v=xm747MwGbiA&t=3523s)

Oh, it's about my pipeline. In fact, I'm start to discussing all the idea and, start to make a reference with ChatGPT. It's like a basic draft. And after that, I use this draft in Nana Banana 2. Okay. And after that, I start to, make any, changes, and after that, I use accedense or a cling. It's really nice to work. It's, sedans, it's about plastic, soft moving, I like it a lot. So it's, not a very simple way to create something, because I like details, I like philosophy, I like, changing optics and lights, and make a lot of,. Different ways to show one idea.

## Clayton Campbell [59:58](https://www.youtube.com/watch?v=xm747MwGbiA&t=3598s)

Okay. That's great. I… and thank you for sharing that. I really appreciate your work and seeing it today, and welcome to Tech Specialism.

## Tina Anderson [01:00:10](https://www.youtube.com/watch?v=xm747MwGbiA&t=3610s)

Thank you, thank you very much.

## Clayton Campbell [01:00:12](https://www.youtube.com/watch?v=xm747MwGbiA&t=3612s)

Sure.

## Colin Goldberg [01:00:15](https://www.youtube.com/watch?v=xm747MwGbiA&t=3615s)

Alright, anyone else have any questions?

I guess I have a question, and I would, direct it to, to, both Fawn and Beau, in terms of, you know, working Commercially with digital tools, and then working personally with digital tools. That's something that I also share with you guys, in that most of, like, I ended up in New York in 1994, so I was in a little shop building CD-ROMs, and the owner of the shop came in one day and said, hey, there's this new way to distribute multimedia globally, it's called the World Wide Web, you know, we've got to get in on this thing, you know? So, they're like, you're the youngest guy, you know, they're a three-man shop, and he's like, you know, you need to learn how to code HTML, and that… that was… that was a lucky break.

So, my web work has been sort of, you know, funding my art habit for the last 30 years, I would say, although I phased out most of my client work, just enough to pay for my studio space and my art materials, and keep this project going. So, but I've found that, you know, most of the tools that I learned over the course of my commercial work, and I was doing, actually. Pre-press print work back, you know, before that, you know, with Quark Express and other stuff, even going from shooting stats in a dark room through the point that we were using a linotype machine and cut… literally waxing, cutting and pasting stuff onto boards. So, like, it's, you know, been a journey where I see the, you know, how much Digital work and computers have integrated themselves into design and, you know, commercial work such as architecture, so I was wondering if each of you guys, Bo and Fan, could, you know, speak to that a little bit, and let everybody know how those two aspects of your work have informed each other. There's one person in particular, Zaha Hadid.

Who, you know, is known very well as an architect, but also was very multidisciplinary. And I remember seeing her work in the Guggenheim. It was retrospective, and there was everything from wall sculptures to, you know, building plans, prototype automobiles, and I just thought how fearless she was in not trying to hide one side from the other, that it became… it was this integrated self. And not really requiring, you know, a definition, so I thought that was really interesting. Anyway, that's enough out of me, but that's kind of, like, my jumping-off point.

## James Gardiner [01:02:59](https://www.youtube.com/watch?v=xm747MwGbiA&t=3779s)

Bo, do you want to go first?

## Beau Tardy [01:03:08](https://www.youtube.com/watch?v=xm747MwGbiA&t=3788s)

To remind you. Okay, sorry. So, I have two things to say about that. Obviously, I've thought about it over the years, but, I think in today's day and age, these sort of two poles, and at least in my philosophy, they combine with all the other kind of dichotomies that, I don't really wrestle with, I actually find them, very fruitful, the combination of things. First of all, pop art versus traditional art. But then, obviously, traditional means versus technology. I mean, all art has always used technology. I think Fond actually said that in his presentation.

Impressionism only came to be because of photography and the ability to take paint outside because it was in tubes. So, technology is… actually, the word technique means art, so that's why I did that NFT that says, there's no more art, there's only technology. Because really, it is the same thing. It's just the tools we use and to reshape the world around us. A lot of the… I don't want to get too much into this, but a lot of the, real breakthroughs and technology were created by artists.

You know, Samuel Morse invented the telegraph. He was a very famous portrait artist. Who actually painted, early American presidents. It was very good. I've actually seen some of his paintings in real life, and he was a very accomplished portrait artist, and he invented the telegraph, which is basically the forefather of the internet, so… and perspective was created by artists. The whole 3D grid. Concept was created by the Renaissance artists. And we're living on the grid today. I think AI is the grid accelerated, to use a Marshall McLuhan term. So, I don't see those things as conflicting. I see them as actually generating, self-generating.

New modes of understanding and of communicating. And as far as the commercial versus the fine art, I was talking to my son, who's also an animator. And he came up with this quip that I thought was just genius, I wish I'd thought of it, but he said, Dad, all art becomes commercial eventually. It just matters whether the artist is able to cash in on it or not. Like, Michael was not. But, you know, all art becomes commercial. It's just, eventually, everybody catches up to it, and then the art becomes design and becomes integrated.

But, and it becomes a cliche to use another Marshall McLuhan term. But, you know, I would say that as an artist, that's why I like to call myself an art scientist, I'm looking to, come up with a new format, a new mode, and then to take that mode, and then to integrate it into a cliche. So, I don't know if that really answers the question, but… that's, that's all I got at this point.

## Colin Goldberg [01:06:47](https://www.youtube.com/watch?v=xm747MwGbiA&t=4007s)

Awesome. So, Fawn, what do you think?

## James Gardiner [01:06:52](https://www.youtube.com/watch?v=xm747MwGbiA&t=4012s)

Yeah, so, I guess, I've always had, like, this love-hate relationship with technology, so, the tools that I use are kind of,.

Yeah, it's… it always feels like a battle, so that's why I'm sort of always, you know, going back to analog, and then sort of you know. Introducing the digital and, you know, trying to find a balance, that is sort of sustainable. You know, I mean, I, you know. Spent… yeah. Years just, you know, on computers doing CAD design and, you know, Digital work, and just, I think after a while, it just, you know, kind of,. I just wanted something more, so… but… but I think… back to your question, you know, am I using the tools that I used in, you know, in architecture or as an inventor? And I am, you know? I mean, I'm still using Rhino, still using Photoshop. You know, picked up a few, few new, software, you know, vCarve and GCEnder and other things, but… you know, it's, Yeah, I mean, there's just a… it's very fluid, and yeah, I mean, as you were saying with Zaha did, you know, I mean, I wish I could integrate everything and just, you know, have… have a… have a career that was just… just one big fluid thing, but… but it, yeah, there's definitely a lot of crossover.

## Colin Goldberg [01:08:39](https://www.youtube.com/watch?v=xm747MwGbiA&t=4119s)

Alright, yeah, I, I appreciate both responses. It made me think about how, you know, when I first started getting into web work, I was bouncing around these different ad agencies, and I was at this one called Kirschenbaum & Bond, which was actually down in SoHo, and they were doing all the stuff for Snapple at the time. They came up with these weird characters, Wendy the Snapple Lady, and all the cast characters, so I got involved with them doing commercial work, and you know, I found that most of the, you know, the design Production people, whoever, working with graphics, they're also, at night, would go home and make weird stuff, like I did, you know? And, you know, I always found their… quote-unquote personal work to be just of… next level caliber compared to, like, going into an art gallery and looking at it and being like.

Alright, you know… what is that? Like, you know, like, I could just decode it instantly and be like, okay, that's, like, you know, the twirl filter, whoop-de-doo, you know what I mean? And then you see these people who are, like, you know, creative directors or animators and stuff, and then they're making this stuff at home, but it's at the production level quality of, like, corporate work, but it's this bizarre, weird, personal work, which I think is really… it's interesting. So, so yeah, leading into that, I guess I have a question for Mario, too, about the crossover between music and visual work. How, I guess, you know, I guess my question is sort of like, do you find now, I don't know if you're still making music or not, but I mean, do you find now that working visually has then fed back into what you're doing with sound?

## Mario Viele [01:10:24](https://www.youtube.com/watch?v=xm747MwGbiA&t=4224s)

Yeah, so it's… that's a really interesting question, because, like, definitely yes as much as I can. What's funny is since I made the record that I was talking about at the beginning of The presentation, and, like, my idea was, like, okay, I'll make that record, and then… I'll go, and I'll make another record for this project, which is still part of the plan, but, like. It's… it's interesting, like, whatever we do with our life, like, whatever our creative pursuit is, we have to, like, figure out marrying commerce and survival with that, and so, like, for really, like, all of my kind of adult life, I've worked in recording studios, and I work with bands, and I work… with, you know, artists, whether it's as an engineer, a mixer, mastering records, or, you know, producing, or on the artist side as a musician, you know.

But what tends to happen is, like, there's the joke about being the mechanic on the street with the only car that doesn't run, where it's like, I'm always dealing with so much of this, with music in my work that it's, like, always like. Okay, like, I'm working on this song for, like, charity called… well. I gotta do this other thing, and I really gotta do this other thing, because otherwise, you know, the hammer's gonna fall down. And, like, that's… the days just roll on and on, and so what's funny is, like, art… like, visual art… like, I always loved visual art, and trying to do that, too.

But even then, when I was younger, it was kind of like, as you get into things, you experiment with things, and… you really follow the path that, like, calls you most, and, like, I just got called to music more. Like, you start playing in bands, and like, for me, like, I started playing in bands, and then you get really busy with that, and then all of a sudden, it's like, well, I was doing this visual art stuff. But, you know, now I'm not, just because, like.

That's, like, the time… you know, time is just, like, a monster, and time is the monster that I'm always trying to, like, battle and failing at. But what I'm getting to is, so the visual art now has kind of, like, become, again, like, my thing, like, I don't… I don't work on visual art for any clients or anything like that, it's just my thing. I think that's why it's become kind of like a daily thing. And, it's, like, kind of untouchable, and it gets me back to that thing where it's, like.

Because as someone who works in music, and I'm sure with everyone else here too, with your art, or whatever you do, however you do it, like. With the music, especially as it became, like, also my job. You have to find the kid in you again, and, like, always kind of keep reconnecting that, you know? What's been cool about the visual art is that it's, like, reconnected me in a very organic and easy way. Like, I don't ever have to, like.

## Tommy Mintz [01:13:14](https://www.youtube.com/watch?v=xm747MwGbiA&t=4394s)

Good luck.

## Mario Viele [01:13:15](https://www.youtube.com/watch?v=xm747MwGbiA&t=4395s)

You know, work for it. It's just kind of there. So no, that's not exactly the answer to the question, but, like. That's just kind of where things are at with the two different kind of worlds and the process and how they interact. And I guess if there's one thing to say to answer the question, it's just that, like, yeah, I definitely, when I do get time, to work on stuff on the music side. Autonomously, I am trying to take a lot of those same ideas of just aesthetic and vibe and, like, not working with a tool the way that it's intended to be worked with. Like, I just… I really like that.

Conceptually, so… Yeah, there you go.

## Colin Goldberg [01:13:51](https://www.youtube.com/watch?v=xm747MwGbiA&t=4431s)

Interesting. Yeah, I mean, it's funny, because, like, you know, each one of the artists who presented today, I find something I can relate to, you know? And, it's like with Tina's work, I feel like… I don't know if you guys… oop, someone's mic is on. I asked her if she had ever played Myst, which some of you might or might not know about, but Myst was a, sort of a game, a computer game from the 90s, and I saw her work, and I was like, wow, that reminds me a lot of Myst, you know, and it was this sort of fantasy world, somebody's mic is on, I don't know who it is, but at any rate, I think it's Tommy.

Okay, muted. So yeah, and then, with what Mary was saying, well, there was two things that popped into my head. One is that, you know, the upside of social media is it's provided you A regimen of, like, alright, I gotta post something. And then it's like, you're making work, day after day after day, because there's a platform for it to get published on, which I guess is a good reason for social media to exist. I mean, I guess that's how Beeple ended up with his everydays and all of that kind of stuff.

And then the inner child, or, like, refining… it's funny, like, you know, finally, like, I got a new studio space, and I'm really hoping, like, I get This'll kickstart me into making new work again, because I've been sort of stagnant for the last, like, couple months, you know, just… and it's weird, because I actually have been getting more pleasure out of doing design work for Techspressionism than my own work. Like, if I'm able to put together a microsite for an exhibition, or come up with a nice Portal for, like, this 3D collaboration, like, it's actually… more stimulating to me than being like, alright, what am I gonna do for, like, a new bunch of paintings? Like, I gotta come up with something, there's a show coming up, like, and it starts feeling like, man, you know, like, so I'm hoping that, like, basically I'll just come in here and just start messing around with stuff. That's usually when all the best stuff happens, is I'm just like, oh, like, I wonder what'll happen if I do this thing that this machine is not made for.

Or this program is not intended for, you know, and it's something that I kind of got from everybody. It's really interesting, you know, I think that getting a bunch of artists together, At least for me, like, I see… you know, I remember when I first started this thing, and Davo, who some of you guys might know, he was, like, a very early moderator. He was… he was actually the person that first said, Davonte Bradley is the artist's full name, he said, you know, like, because the first 7 salons were not recorded. We were just hanging out on Zoom, shooting the shit. He's like, why don't we record these things, you know? And I was like, that's a good idea.

Idea, and he's like, you should have a YouTube Channel set up for this. Like, yeah, that's a good idea, you know? And then he became, like, the moderator for, you know, a whole slew of the early salons, and you know, it's like, you know, like Bo brought up McLuhan, and like, you know, all of the… just media, it's such a, it's just such a… it's so open. It could be used for anything, you know? And people, I think, think about it as inherently tied to mass media, but really, like, us as artists, we can take control of media and do whatever we want with it, you know? And I think that, you know, this idea of social sculpture. When I was first doing stuff, I was working with Real Video, which was a really early streaming video format when everyone was on dial-up, and it was crappy, and there was no audience, but I was, like, having artists interview other artists, and finding weird, like, homeless poets in the village, and, like, bringing them into my studio, and having, like, them recite poetry, and then streaming it onto, like.

No audience that was even watching it, but it's planted the seeds, and then, like, one of the people I got connected to, he was actually teaching computer art at School of Visual Arts in the city at the time, and he said, you know, what you're doing reminds me of this idea of social sculpture that an artist named Joseph Boyce came up with. And I forgot about that. And then when I started doing this thing with Techspressionism, it came back, and it's like social sculpture, you know, where, like, society itself could be a medium to work in, and, like, finding people connecting to each other you know, independently of anything I do. There just happened to be, oh, like, let me check out this person's Instagram, you know, and then they start corresponding, and all of a sudden, like, there's, like, collaboration, you know, collabs and projects popping up between people, and it's super cool, and then, like, a bunch of artists are organizing this show in LA that's opening up in a couple weeks.

Totally, you know, it's just like, you guys run with it, whatever, and, like, I'll publish it on the site. And just seeing that, witnessing that, it's very gratifying, you know? I feel like, in a way, it… it makes my own personal work seem sort of trivial, honestly, to see the interconnections happening between people, like something important is happening, I think, you know, and it's really, like. I planted a seed, and now… all this other stuff is happening because everyone else is watering it and, you know, pouring Miracle Control on it, something like that. So, anyway, I'm just rambling now, but, we still have a little time if anyone has any, other questions, or if any of the participating artists wanna… share anything, you know.

## James Gardiner [01:19:33](https://www.youtube.com/watch?v=xm747MwGbiA&t=4773s)

I think it was… I think it was a good point, that is… it's sort of need to have a hobby or a, you know, an outlet to… to… to, sort of, to find your next, kind of, you know, the next thing, you know? When you were mentioning the, The professionals that you're working with that had, had, you know, an art… Art going in the background. I mean, that was what I was… I was doing, you know, when I was working as an inventor. You know, it's just so high stress, you know, this sort of corporate job that I had, that I'd go home and just, you know, sculpt on the weekend, and just… and that was, you know, like, just totally… helped to relax, you know, and then I ended up, you know, finding that was useful for thinking about, you know.

How to… how to design artificial reefs, and, you know, and so… I think, you know, you need to have these… these little outlets, you know, like Mario's, you know, fantastic, you know, you know, phone art, you know, just to have… have this… this outlet, you know, this spark of imagination that… that allows you to… Reimagine, and to find… find something new. And, I mean, also, you mentioned moving into a new studio. I always find that, you know, I mean, I've just moved into a new studio here, a few months ago, and I always find that a new studio changes your art, because the tools that you have access to are different, the space is different, what's possible is different.

So it always shifts, but yeah, trying to have those, I don't know, little kind of, things that you can spark off, you know, to have a side project, so you've always got something that's interesting and to shift to when you get a bit… bit, stuck, you know. In your work.

## Beau Tardy [01:21:40](https://www.youtube.com/watch?v=xm747MwGbiA&t=4900s)

Yeah, I would say that what James is saying is true, and Mario as well, in terms of, being able to have a playground to experiment, and because… That's… that's where the… that's where the new work can emerge from, and I think it's very important. To, experiment. That's what I think our role as an artist is. To sort of, to walk the tightrope without a net. We have to be able to experiment freely. But then again, what Colin was saying is that we need to take possession, as artists, of the media, and what all that entails, and I think the idea… one of the ideas behind Techspressionism is to also take hold of the technology, and not be afraid of it, and be willing to integrate that into the experimentation.

And, I think that's a very important approach. But I think that also it's, sometimes you have to work within the commercial sphere, and the way I like to look at it is because some of this technology is very advanced. For me, for example, computer graphics were very advanced in the late 80s, early 90s, and there was no way for me to get my hands on the technology except for stepping into the commercial world. And same with you, Colin. I think with some of the work that you were doing as well, you had to be… the only way to get hold of that technology was to do it for… corporate client, and thinking about that, what I've come up with is that as artists, we need to learn how to use this technology, and what… A better schooling than to do it on somebody else's dime, right? So, I just see it as school, you know? It's just… it's just an education. We're learning the tools, let somebody else pay for it, and we can learn the tools, but then we have to reintegrate it into our work.

So, as an artist, that's how I like to look at it. But I… I'm no longer afraid of mass media, pop culture, commercialism versus fine art, traditional versus pop, because I think it's all part of the dialogue. You know. As an artist, we're trying to recreate The language, so we need to be able to integrate all those elements into it. That's how I feel.

## Colin Goldberg [01:24:23](https://www.youtube.com/watch?v=xm747MwGbiA&t=5063s)

Yeah, I like that quote from your son, you know? In the end, you know, it's sort of like, you know, it's a real paradox with artists, I think, that struggle of, like. You know, I don't want to be commercial, like, but, like, of course I want to sell my work, but I just don't want to be commercial, you know? And then, like, if you're a musician… if you're a musician, and you have a sold-out show, you're stoked, you know? And then if you're an artist, and someone says, you're sold out, you're like.

Whatever, man, you know, like, you're just jealous, you know, calling me a sellout, you know? So, it's weird, you know? I mean, it's just sort of like, there's all these preconceived notions, you know, about, like, what art is, and what's commercial, you know, I think working on both ends of, like, sort of industry, and then, you know, working with one's own personal ideas, you know, with those same tools. That's something that, you know, I see quite a bit here in these Zoom sessions in the community, you know? There's a lot of artists who got their chops by doing stuff for other people, and you know, when there's, like, a corporate client breathing down your neck, like.

It's gotta be this way, or make it pink, or whatever, then you just have to learn how to do it, you know? And, like, make it the way they want it. A lot of times, I'm doing work for a client, I'm like. Have it your way, it's ugly, but you're paying me my rate, I don't care, you know? And then I go home, or whatever, clock out, and then I'm doing whatever I want, and… and, you know, no one can say anything to me about it, so that's the freedom, you know, of being an artist. And, yeah, I'm very excited to be in a new space.

Back when I was living in East Village on Avenue A, my, I remember, you know, I was kind of like… I always enjoyed Andy Warhol, like, just what he did. You know, like, I've come to appreciate his work aesthetically, but initially it was just more about, like, what he actually did, you know, like, in terms of… how he approached the idea of art, and, you know, he went into it very consciously, from being one of the top illustrators. No, I'm gonna do that art thing, set up a factory, you know?

I was like, this guy had a name for his studio, you know, like, so… I was like, I gotta come up with a good name for my studio, and I had this little tiny studio apartment. I was like… and I was always into sci-fi and, like, William Gibson and stuff like that, so I was like, you know what, like, I'm gonna call it The Pod. And I would shut my blinds, and I was like, you know, on the first, you know, webcam, those Connectix little eyeball cams, and there was a program called, I visit that I met all these weird people on, you know, all around the world that were on the very first real… I mean, the very first… it was written by the same guy, there was one called See You See Me, and that was Cornell University See Me. This guy, Tim Dorsey, I think was his name, was the… was the… The programmer who came up with this, it was the first Commercial web… web, you know.

Online, whatever, video conferencing software, and he wrote it when he was in college in Cornell, and you know, I remember I met someone, got into a relationship through this app, and I wrote to him, there were no dating things, like, it was just random, weird nerds, like, going on. They're like, whoa, we could see each other, this is cool, you know? And then I wrote to the Kim, like, the guy who coded, and he's like, yeah, I had the same experience, you know, it didn't work out.

And it's like, you know, you see this person in this virtual… I don't know, it's very strange, you know, but it's really interesting to see the technology evolve, and, you know, with AI, and then… you know, the state of VR, I mean, like, I got a new headset recently, and I mean, it's, you know, I've tried the Apple and the Vision Pro. If any of you have the opportunity to do a shameless plug for Apple, but a demo at the Apple store, it is unreal. I mean, just… you know, the eye tracking, you look at the icon, and it highlights it, and then you just tap your fingers, and it just feels like it is connected to your brain. I mean, I'm not gonna buy one, there's no good use case that I have for it, but I mean, it's a wild experience.

So, yeah, shameless plug for Apple. But, alright, well, I mean, we're getting a little to the end of this time, but if anyone has any other questions, anyone wanna…. Throw a question out there for one or any of the other. Artists presenting, or… looking pretty good.

## Mario Viele [01:28:58](https://www.youtube.com/watch?v=xm747MwGbiA&t=5338s)

I'll say something kind of, Random here, based on some of the stuff that's just been discussed, you know. Especially for me working with, A bunch of, kind of, DIY apps and, you know. Y'all are talking about, like, the technology that you work with, and the… especially the older technology. One of the things I've already experienced is, kind of becoming dependent on a certain tool for a certain thing. And, you know, it then becoming abandonware, and all of a sudden you update, you know, because I've been doing this for a few years, so, like, you update a phone, or, you know, you update an operating system, and all of a sudden, this, you know, tool that all of a sudden you used to think was, like.

Exactly what, you know, you needed to use to do something is gone, and there's, like, really no way to get it back, and, like, or even talking about old games like Myst, where, like, you know, you can't experience that in the modern day without a rebuild, remaster that runs on modern software, or… you know, finding the old hardware to do it, and so, as I've been working, I've been thinking a lot about, like, autonomy of process, and just, like, especially as we use, like, weird specialized tools, because, you know, if you get to know all the Adobe suite of tools, like.

They're always gonna be there, and they're gonna be there in 5 years and 10 years, and they're gonna be supported and updated, but when you get into weird technology, whether it's, you know, a big old machine that beeps and that can do some sort of special thing, or…. You know, just, like, a weird little app that some one dude who was really stoned coded and just, like, put out there for, like, 4 bucks. Like, these are amazing things, but there is this kind of, like, fleeting, you know, feeling about working with some of them, it's like, even just like an old machine can break down, and then all of a sudden, you're just like, I don't have anything to do with that, or I don't have anything that can do that anymore.

So I've already been through that experience a few times, both with the visual project here, but also in, you know, with equipment and working with stuff in the music sense, but it's just been, like, an interesting thing to keep a mind about, where it's like, as we make things, it's like, how much of this… is… do I have control over if, like, the world blew up, like, could I… could I do this art with just, like… you know. Bare minimum resources, or, like, with a totally different set of you know, apps, or a different operating system, or a different machine, and, you know, just kind of… in some of those… experiences where the thing kind of, like… this is, like, kind of getting into the… moving into a new studio and how things kind of change. It's like… they can be painful, but then also in the experience of, like, trying to desperately find something that kind of does what it used to do.

You might find something that does kind of do it. It might do something newer and cooler and better, but then also not be able to do exactly the old specified thing the other thing could do. So just, like, that kind of, you know, ongoing wrestle of the technology is just another interesting part of doing it all, and it's… something to kind of be mindful of going forward, too. It's like, I've always been thinking about, like, data, and, like, you always have to have backups of data. I've also gone through some severe data loss, where, like, hundreds of hours of a project might be lost, you know, long ago, when I was young and stupid, but, like, I've more recently been starting to think of it, too, in terms of, like.

A program and an operating system that can run it, and keeping old technology around just in case you need to get to something and just, like. Crazy things of that nature, so… that's just a little something extra to think about.

## Colin Goldberg [01:32:30](https://www.youtube.com/watch?v=xm747MwGbiA&t=5550s)

Absolutely, yep. I still, have my Commodore 1541 drive. Sitting under my laptop, stand as a reminder of what I, you know, fell in love with, back in the day, you know? And, now I run it as an emulator when I get the urge. But, all right, so I guess we're gonna close it out, but I really appreciate all of the shares. It was an amazing session. I hope, you know, all four of you continue to come and, you know, engage with the community and build community, you know? Like, one thing I will say as a closing note is that, like.

The way this LA show happened is a bunch of the artists out in LA, like, got together, they found a space, LA Center for Digital Art, which this guy Rex Bruce started a long, long time ago. I was in a show there when I was in grad school, you know, I didn't go there. I emailed him something, and he printed it out. But, you know, basically, like, what I think this group really has to offer is in the Artist Index, like, you could pretty much look up A bunch of other artists that are in your area, and just find a space, and put a show together. Jeez.

There's artists, you know, a bunch of artists in Australia, in Russia, that have participated in past shows, you know, certainly, you know, most states at this point… I mean, not like it needs to be geographically focused, but I think that makes for an interesting physical exhibition, and when you're looking for a space, and you say, well, I'm part of this international artist community, then all of a sudden, you know. Like, organizations or curators are like, really? Tell me more about that. You know, whereas if I, like, knocked on some door, and I'm like, hey, like, I make art, you know, they're like, alright, deadline, buddy, or it's like, sorry. You know, so it's an interesting way to get in a door, and then, you know, organize things, and put a show together, or curate, whatever, you know, like, I feel like, that's also very gratifying to see other artists, you know, gain visibility, create connections and networks, you know, through this community.

So I would encourage you guys all to do that, and for anybody on here that has questions or interest in any of the four presenters, artists' work, I'm sure they would be very happy if you sent them a message off Instagram or whatever, and, you know, start a dialogue. So, maybe even between, you know, some of the artists that presented here today. So, with that being said, I'm going to stop the recording, and we do this thing. Called an after-party here, where, basically, after the recording ends, anyone who wants to just hang out and shoot the shit can do so. This is usually when we, you know, come up with topics for, like, upcoming salons and stuff like that, where people could just, like, talk freely and not worry about it being recorded. Not like I give a shit anyway, but some other people might, so that's why we have the after party. Kind of the origin story of that is that really early on.

One of the more prominent artists involved said, you know, we should really have an advisory board to guide the development of the group, and I was like. Not having a freaking advisory board, you know what I mean? Come on, like, whatever. So, the afterparty is pretty much the advisory board, where, you know, people hash out ideas and come up with things, and… that ends up being what happens, usually. So, alright, so I'm gonna stop the recording in 3, 2, 1, and cut.