A virtual exhibition, featuring a never ending contemporary algorithmic animation.
The random colour spirals seemed to fit with these COVID times. The spiral representing geometry. Then, combined with the random colour and mark size, representing the spread of the virus outward from the source. I then decided to offset the spiral to represent the asymmetric infection pattern in the population, between age groups in particular. But, these things are just my motivation for constructing these abstract algorithmic serial outcomes.
It is (maybe) worth saying, the mask is used here as a symbol of our time and as a tool to add context. I do not make masks and I do not sell masks. Indeed, I question their use as anything more than a symbol of compliance. My anicdotal observation is, they cause the user to touch their face more often, and are just as likely to be counter productive. I make no scientific claims, this is just my own gut (dare I say) common sense feeling. The point is, I do not encourage or condone their use as anything more than a symbol of our time.
DUAL SPIRAL is a Processing sketch, an online P5js script and a series of large format prints. Each visit to the DUAL SPIRAL STREAM results in a unique presentation of two overlapping noisy colourful random spirals. A series of fixed perspective moments in time have been captured and reprocessed into large format prints, a small selection of which are currently available at PRINT.REVAD.COM.
These examples are shown as 60 inch wide metal prints installed in a contemporary space. Every print is available on a substrate of your choice and a size to suit your need.
A nice positive stroke to end the year. The good people at AXISWEB have chosen to FEATURE my SANS A Chromaluxe print on aluminium as one of the highlights of the week (9-15 DEC 2019). The accumulation of small positives helps me continue to do what I do.
As I said in my earlier post “the chance of the odd sale is really just a side-effect that comes with the space”. If any funds are generated these are ploughed back into making new enquiries and outcomes. My practice is mostly exhibited in the virtual space of the web. The very occasional real-world exhibition is more of an accident than a goal. If a connection made leads to a worthwhile venue, then so be it. Making a sale is not the goal either, this is why I describe my art as FOR ME. But, this doesn’t preclude it from being FOR YOU too.
A lot of effort has gone into creating and curating this space. I treat it as an online exhibition space. The chance of the odd sale is really just a side-effect that comes with the space. Every little helps though. I am more interested in how these different lines of enquiry sit together in the space, how I can introduce new work and cycle out those outcomes that have served their time. It never sits still for very long. Everything is transient.
Fourteen outcomes, mixed by pairing over seven days, via the installation of eighty four consecutive posts on Instagram. Exploring Instagram as an online exhibition space. Exploring how the space can be manipulated to harmonise different outcomes. Exploring the alternative perspectives available to the exhibition viewer. Exploring how these perspectives can be shared on other social platforms.
A long running connection project hosted on a Facebook page. The Connect With This Space page has since been deleted. At the end of the project, 542 connections had been made. Each notified page like was coded using REVAD’s colour alphabet. Each coded username was posted to the page and included in a collective outcome on revad.com. As the connection count approached 500 a Blurb published book was made recording 468 coded user names (APPROACHING 500 ; ISBN: 9781388440114). Other derivative outcomes have yet to be made…
A long running connection project hosted on Twitter. The account changed names over the years, but the coding of follower user names continued. By the end, using a stylised version of Morse Code, the project had coded 715 user names. The codes of current followers were displayed on revad.com and linked back to the follower Twitter accounts. Followers were never pursued and paid advertising was avoided. Beyond the first 50, the followers found the project Twitter account and followed of their own free will. Follows were not routinely reciprocated, the coded names were posted instead. At closure (in 2018) the project still had more than 500 active followers. In 2013/14 a real-world physical outcome toured with the This ‘Me’ of Mine exhibition (curated by Jane Boyer). Other derivative outcomes have yet to be made…