In the 21st century, an image is not an object that hangs on the wall anymore. Nowadays images travel from one device to another, they replicate, transform and die inside the global networks.
An image is not just a sight. It has its structure, anatomy. It can be a magnification of a part of a painting, few crystals on a film or a piece of a digital code, flushing around the internet. It is like a living being, feeding with attention. The more attention it gets, the more it reproduce in the digital jungle.
With help of digital technologies, different elements of an image can behave like actors, emerging on different stages, frames, backgrounds, objects or applications. They can exist in an augmented reality, between the physical objects and metaverses.
One aspect of the life of an image is its fractal nature, its texture. When seen from a short distance, images reveal new worlds. If we let the camera slowly and closely move over some of them, they may appear like flying over abstract landscapes.
Painting with a credit card
You might wonder, how to make such interesting textures with Acrylic painting? How to make close-ups look like a magic landscape? The secret is, that instead of a brush or a spatula, I used a Credit card to put color on paper.
But that is not just an acrylic painting technique, it is also a conceptual gesture. A credit card allows us to enjoy now and put worries about the debt into the future. Just as our way of life causes devastating pollution and climate changes, while the consequences will hit our children.
Drawing with a robot
Machines can do anything better than we do, and artificial intelligence will accelerate it to an unbelievable extend. What will remain for humans?
Joseph Beuys talked about the social sculpture, the society of creative individuals. Contrary to machines we feel.and think, we are alive. And the meaning of life is not to produce and spend and consume and succeed. Life is far bigger than that. Life is what is here and now.
In my work, I combine the work of the robot with the work of my body. Robot is predictable and perfect. Piet Mondrian once dreamed about a machine, which would allow him to endlessly move and combine elements of his paintings to get a perfect result. But the working process with computers is sterile and alienated. Putting the color on the canvas with a credit card is something completelly different It is a dance, a ritual, a meditation, Zen.
Combining both techniques allows me to feel and understand the difference between those two. Willem Fluser argues, that the universe of the machines is overlaping the universe of humans. We must make machines work for us, not become their servants.
Two sides of the ARTnote
ARTnote comes from the word banknote. As Beuys noted, creativity is the real human potential. ARTnote is a result of human creativity and its goal is not to be accumulated as an asset. Contrary to paintings, which are meant to hang on the wall, is ARTnote meant to be taken into hands, to be in rotation and watched from both sides. Images on both sides are in an obvious relation, but the relation between them is not obvious. User switches from one side to another, which brings an unexpected dynamic into this process.
Nowadays, we don’t just look the images, but the images are watching us. Just as George Orwell predicted in his novel 1984, there is a camera and a microphone on every screen, Two holes in the ARTnote associate on eyes, on something alive that is watching us. That reminds us of how very sophisticated process is watching and how deep it interconnects with our feelings and senses. We might imagine, that something is watching us through those holes or we can use that object as a mask and watch through those holes. But, while moving it in our hands, a piece of the background moves behind, and those holes become little screens.
Anonimously Targeting professionals
In his book A very short introduction to contemporary art, Julian Stallabrass states: “What is the market to make of a work that is reproducible with perfect accuracy, that can simultaneously exist on thousands of servers and millions of computers, and that can be cannibalized or modified by users? How can one buy, sell, or own such a portion of data?” .
I was a part of the net.art movement and initiated an often quoted event of selling an internet art to a gallery, and the question of understanding art mostly as an asset, still intrigues me this days. A painting is the most traditional asset, being sold in the western art system. How to do a painting than, which is not meant to be sold and hang on the wall?
Art is about experience. I wonder, how will an art professional feel, how will she experience a both-side painted paper, where images on both sides are obviously connected one with another (but it is not clear how). She daily receives offers from artists, who struggle for her attention. But this thing is anonymous, is not an offer or a promotion or a request. How will she feel, while asking herself, who is sending this and why?