RGB Mode

Tabor Robak, Piggy, 2019. Neon, 2 monitors (1 HD/1 4K), LED, LED matrix, wood, latex paint, laser printer, matte varnish, aluminum extrusion, custom vinyl decal, acrylic panel, and modular connectors, 56.5 x 82 in
Newborn Baby
Newborn Baby
Drinking Bird Universe, 2018
Digital video with live data; 30 minutes (looped)
6.1 x 183.9 x 105.2 cm

Tabor Robak. Robak uses programs like Photoshop, After Effects and Unity3D to create densely rendered digital worlds that riff on everyday objects. He’s currently exploring illustrations on transparent screens in the second edition of his work Newborn Baby.

Art in the Age of Anxiety conjures the bombardment of information, misinformation, emotion, deception and secrecy that invades online and offline life in the age of digital technology. It aims to illuminate the ‘post-digital’ condition—the manners and behaviours found in a world altered by the rise of digital technologies—and posits speculations for our future.

https://www.taborrobak.com/

https://sculpturemagazine.art/tabor-robak/

Quiet Place

Cover Design: Dataverse by Deep Learning
The Royal Exchange
Similar High Hopes
Augmented Reality Risograph Zine
Bonzie — “alone”

Nicholas Law

Artist and designer from Buffalo, New York.

https://nicholaslaw.work/

+ formalism in digital art, a quiet pure electric place that i could enjoy without the stress of interpreting into bullshit meanings

♪ ♫ ♬ DATAVERSE DEEPLEARNING

https://salmonuniverse.bandcamp.com/album/dataverse

Rituals

Rituals II (Chillin’ in the Blue Dessert)

Luis Toledo Laprisamata creates a surrealistic depiction of a women who is relatively gigantic comparing the golden figures on while they are all siting / chilling on the ground. The complexity of the image seem like arbitrary map of veins, road and highway, consisting a range of colour that appeals psychedelic and vibrant. In the digital collage, he finds his favourite discipline, which lets him put together in a more effective way, each atom of colour to create a vast universe.

More Rituals form the Blue Desert

In this image we see the codes of the size differences again, which indicates that there are two types of beings exisiting, the small two groups of being look like connecting to their god of for the ritual being held here. There are many codes and symbolisms, I can see a hourglass device; three symbols on the right side that look like some magic spell of hexagon; a stairwell to the gate of the dark universe. Thousands of biomorphic and little OP Art/ optical illusion components, constructing every figures and on the air in this frame. One of the ‘god’ has a big cat head, some kind of hybrids and imaginary creatures. They look like they are about to fight, is this an indication for the conflicts of the man vs the animal realm? The intensity of the complexity evokes so much power and an otherworld illusion.

Rituals

Death, spirituality, necessity, beginning and end. Death is just one more step in which we abandon the skin to continue our existence with another form. The liberating end. Another aspect of life, so vital and necessary as life itself.

The use if images and aesthetics picked up from the past, mixed with abstract and contemporary forms, transport us into a un-timed territory; and in here, present, past and future mix in a symbolic reality.

https://laprisamata.com/

https://www.behance.net/gallery/103858867/Selected-Works-2020?tracking_source=search_projects_recommended

Abstract Browsing

Abstract Browsing 17 03 02 (Google Image), 2017, Jacquard weaving
79 × 57 in / 200.7 × 144.8 cm


Abstract Browsing 17 03 02 (Google Image), 2017, Jacquard weaving
79 × 57 in / 200.7 × 144.8 cm
Times Square Midnight Moment, New York

Rafaël Rozendaal, Dutch-Brazilian, b.1980, works primarily with websites / NET ART (internet art), producing animated abstract patterns and interactive images that explore the screen as pictorial space. His brightly colored graphics often shift or pulsate with light, while in other images he explores simple movement and gesture, as in paper toilet .com (2006), in which visitors to the site can unravel a roll of toilet paper in virtual space, or jello time .com (2007), where visitors can poke a quivering mass of jello. Rozendaal broke ground when he began to sell his net artworks; in exchange for the purchase of one of Rozendaal’s domain names, a collector’s name appears in the title bar of the work, and the site remains public and accessible to viewers worldwide.

2017, Anti Social is Rafaël Rozendaal’s third solo exhibition with POSTMASTER GALLERY. ‘Abstract Browsing,’ a Chrome extension designed by the artist transform web to vibrant, geometric patterns, devoid of information, simultaneously reveal unusual, unhuman compositions and the scaffolding of the web. Surfing the web is fast and fluid. Weaving is antithetically slow and process-based—what the artist describes as “mechanical painting.” Rozendaal selected weaving as the medium for these works because of the relationship between computer programming and the loom, thus, the loom could be considered the first computer.

“…Art is a place for reflection and contemplation. Quiet, calm, staring. Trying to observe without too many thoughts. We are used to viewing art that way, but the internet is a different place. The internet is fast paced, jumping from link to link, from impression to impression. Websites are ubique (ubiquitous) objects, they can exist in many places simultaneously.

Rafaël Rozendaal

reflection

+ as a graphic designer i’m quite familiar with making website, graphics, icons… that is how i came across this artist by researching into the Post-Internet art / digital technology. i’m so inspired by him, not only his fantastic use of colour with his mundane yet fun art, but his nihilistic attitude of making these accessible for everyone…

https://www.newrafael.com/

https://chrome.google.com/webstore/detail/abstract-browsing/nmkbjeagaobhphiipgigbjhligebkfcg

https://www.artsy.net/show/postmasters-gallery-rafael-rozendaal-anti-social