We represent Reed Hearne, who uses photographic technology to elevate ordinary surroundings into extraordinary geometric artworks. We love Hearne’s Columbus Circle that depicts the energy and fast pace of modern day life in New York City. Through disrupting the warm rich colours of greens, oranges and browns with geometric lines, Hearne is able to illustrate how human masses interact and move in urban space.
If the idea of owning a piece of innovative artwork is something you are interested in, we recommend looking at Krista Kim’s series of abstract artwork. Founder of Techism, Kim explores how technology affects human connection and communication. The movement was founded in 2014 with aims of joining art and technology through the development of digital humanism. By using latest technological software in No.655 v.10 (2018) Kim creates colourful harmonious abstracts which supports her mission to use technology as a tool for creating innovative and unifying dialogue.
The phrase ‘Digital art’ was first coined during the 1980s and was widely referred to art that was created in connection to early computer technology which offered digital painting programmes. Unlike other modern art movements, digital art cannot be easily confined to any distinct style or artistic methods.
The main concept of digital art is the close relationship between the artist and technology in the process or distribution of artwork. For hundreds of years, artists have used the latest technology for artistic experimentation, from the use of colour pigments in cave painting to manipulating computer code to create graphic designs.
As technology has developed traditional tools have been transformed. Acrylics and oil paints have been replaced by light and sounds effects. The two-dimensional canvas is replaced by three-dimensional multimedia projections and interactive installations. The traditional methods of making, distributing, viewing and selling art has been revolutionised. With easy access to computers, tablets, phones artists have been empowered to create their own careers, whilst accessibility to art has increased with potential artwork reaching millions of viewers and art buyers online through the internet and social media.
The style of Digital Art originated during the 1960s with the invention of the computer. During this decade, ground-breaking work was made by John Whitney who is viewed as the ‘father of computer graphics.’ As an animator, Whitney used mathematical functions and algorithms to transform computer imagery into graphics. Whitney created a sample reel of his effects of a lissajou curve (1968) by twisting it across the screen to illustrate waves to create the idea of a blossoming flower. Ten years later, motion pictures company Industrial Light Magic ‘ILM’ pushed the technological barrier further by ‘breaking computer code’ for greater artistic creations. Founder George Lucas wanted to create ‘never done before visual effects’ for the 1977 Stars Wars film. By working with a group of artists, engineers and technicians the group were able to push the boundaries of computer technology into the realm of visual production through the manipulation of picture and video solutions and motions.
Beyond commercial media productions artists such as Kenneth Knowlton experimented and developed new styles of ‘photomosaics’. In Studies in Perception (1967), Knowlton was able to revolutionise the classical female nude. By scanning a photograph of a young nude female dancer and manipulating the print’s typographic data, Knowlton was able to create different pixelated tones, thus both creating a nude portraiture viewed from the mechanical eye of digital technology.
Whilst others used digital art to transform traditional art forms, artists such as Nam June Paik continue to break the barriers of technology and foresee the future of human engagement with technology through his development of video art. Through experimentation of the physical positioning of video and the technical effects of video visuals and sounds, Paik has created dozens of installations exploring how technology can become humanised. By anthropomorphising the physical object of video with audio or visual footage of humans as seen in TV Garden (1974-7), Paik is suggesting how technology can benefit mankind through its possibilities of creating boundless connections across the world.
Thirty years later Palik's ideas towards digital art remain powerfully influential on the development of the use of digital art. Japanese art collective teamlab was established in 2001 and their aims are to converge the elements of art and technology with the natural world. As artists, engineers, mathematicians, programmers and architects collaborated, they have created large scale interactive installations such as Forest of Resonating Lamp (2016). By combining the materials of Murano glass, LED and technology, teamlab have created interactive worlds that place the viewers within the creative process, as their participation changes the visuals, audios and sounds of the installations.