A day in the life of an Image

In the 21st century, the concept of an image has transcended its traditional role as a mere wall-mounted artifact. In the contemporary landscape, images traverse seamlessly across devices, undergoing replication, transformation, and eventual dissolution within the intricate tapestry of global networks.

An image now holds a significance beyond mere visual perception; it possesses a well-defined structure and intricate anatomy. It can embody a magnified fragment of a painting, a cluster of crystals captured on film, or a snippet of digital code coursing through the vast expanse of the internet. This entity takes on a life-like quality, sustaining itself through the nourishment of attention. Indeed, the more attention it garners, the more prolifically it propagates within the digital wilderness.

Assisted by the prowess of digital technologies, distinct elements within an image now assume roles akin to actors gracing various stages, frames, backgrounds, objects, or applications. These elements can readily inhabit augmented realities, seamlessly navigating the realms between physical objects and metaverses.


Painting with acrylics and drawing with a robot

An intriguing facet of an image’s existence lies in its fractal essence and textured intricacy. Upon closer inspection, images unfurl hidden realms, reminiscent of undiscovered universes. By allowing the camera to leisurely traverse the surface of certain images from an intimate proximity, they unfold as though embarking on a journey above abstract landscapes suspended in the imagination.

Painting with a credit card

Screens are watching us

You may find yourself pondering the methods behind crafting these captivating textures through Acrylic painting. How can one transform close-up views into enchanting landscapes reminiscent of magic? The key lies in an unconventional tool—the credit card—employed to apply hues onto the canvas.

Yet, this technique transcends the realm of mere painting, extending into the domain of conceptual expression. The credit card embodies a duality: it grants us the present pleasure while postponing concerns about future debt. In a parallel vein, this mirrors our contemporary lifestyle, wherein our actions contribute to profound environmental disruption and climate shifts, and the true ramifications are destined to impact future generations—much like the deferred consequences of credit card usage.

Drawing with a robot

Machinery possesses an inherent superiority in performance, a realm that artificial intelligence is set to propel into the realm of the inconceivable. In the face of this exponential acceleration, a question emerges: what space remains for human endeavors?

Joseph Beuys expounded upon the notion of the “social sculpture,” a vision of a society composed of creative individuals. Unlike machines, we possess the profound capacity to feel and think; we are, undeniably, alive. The essence of existence transcends the confines of mere production, consumption, accumulation, and achievement. Life, in its fullest measure, extends far beyond these pursuits, embracing the immediacy of the present moment.

Within my creative pursuits, I merge the labor of the robot with the efforts of my own body. The robot embodies precision and predictability, a paragon of flawlessness. Piet Mondrian once harbored a dream of a machine capable of ceaselessly rearranging elements of his artworks until perfection was attained. However, the act of creation within the digital realm tends to be antiseptic and estranged. Contrastingly, applying color onto canvas with the fluid motion of a credit card is an entirely distinct experience—a dance, a ritual, a form of meditation akin to Zen.

By harmonizing both techniques, I attain an intimate comprehension of their inherent disparities. Willem Flusser postulated an intriguing notion: the domain of machines interlaces with that of humanity. It is incumbent upon us to harness machines to our benefit, ensuring that they serve us rather than relegating ourselves to their servitude.

Two sides of the ARTnote

The genesis of ARTnote finds its origin in the term “banknote.” Just as Beuys astutely observed, the true wellspring of human potential resides within creativity. ARTnote stands as a tangible manifestation of this innate creativity, distinctly diverging from the traditional trajectory of asset accumulation. Unlike paintings, which often find their place suspended on walls, the essence of ARTnote beckons to be embraced within the grasp of human hands, to be revolved and observed from all vantage points.

On both sides of an ARTnote, images exist in a conspicuous relationship, yet the subtler interplay between them remains enigmatic. The user embarks on a journey, transitioning from one side to the other, introducing an unexpected dynamism into this artistic voyage. This dynamic shift in perspective lends an air of intrigue, infusing the viewing experience with an element of surprise.

Drilling holes

George Orwell novel 1984 describes the world of complete control, we are facing towards

In the contemporary landscape, our interaction with images transcends mere observation; rather, the images themselves have turned their gaze upon us. In a parallel echo to George Orwell’s prophetic vision in his novel “1984,” our screens now harbor both a camera and a microphone, embodying a pervasive surveillance. Similarly, the dual apertures within the ARTnote evoke the essence of eyes—portals to something alive, actively observing us. This serves as a poignant reminder of the intricacies of the sophisticated processes at play, woven intimately with our emotions and senses.

In contemplating these apertures, we’re prompted to envision a sentient presence peering through those openings, or perhaps, we can adopt this object as a mask, allowing us to perceive the world from its unique perspective. Yet, as we manipulate it in our hands, a slice of the background glides into view through those apertures, and unexpectedly, those holes transform into diminutive screens. This dynamic interplay between object, observer, and environment adds an additional layer of intrigue to the experience.

Anonimously Targeting professionals

They want complete supremacy over the rest of humanity

Within his book “A Very Short Introduction to Contemporary Art,” Julian Stallabrass poses a compelling question: “How can the market interpret a work that exists with flawless reproducibility across countless servers and computers, subject to user modification and cannibalization? How does one transact, possess, or sell such a fragment of data?” [129].

My personal involvement in the net.art movement, notably the well-known event where I facilitated the sale of internet art to a gallery, has sustained my ongoing fascination with the prevailing notion of art as an asset. The query of transcending this traditional conception of art, predominantly as a salable entity destined for display, continues to engage my thoughts.

Intrinsic to art is the essence of experiential connection. It piques my curiosity: how would a seasoned art professional react to a dual-sided painted paper, its images clearly intertwined on both surfaces, yet the underlying relationship eluding immediate clarity? Bombarded daily with overtures from artists vying for her attention, she encounters an anomaly in this creation—anonymously presented, devoid of promotional intent or solicitation. As she contemplates its origin and purpose, she navigates a space of uncertainty, pondering the sender’s identity and intent.