Dream Text
This series of paintings is based on images processed utilizing Google's Deep Dream Generator. When Google announced the utility, it created all sorts of waves in the digital art community. After thousands of cats and dogs were generated, artists finally started to get a better handle on the capabilities and which image textures to use to create spectacular art.
In that imagery, I noticed the ability to mimic and step beyond many of the effects I had been creating with 3D volumes and the liquid forms of an evolved Nuclear Mysticism.
I started spending many hours trying to understand and generate the types of effects I was hoping for.
Here, I have used the utility to bring an entirely new look to Michelangelo's David.
The textures I chose to use on the image produced not only the liquid flowing of the background, receding it into the swirling of clouds and sinew, but it also created the baroque features that define David's body
While working on the painting, I realized how well the software mimicked and evolved many Dali's characteristic qualities in his religious and Nuclear Mystical works
When Salvador Dali depicted form utilizing molecular structures and rhinoceros horns in the 1950s, he was bringing to the viewer's attention what was known then of nuclear form. Dali was enamored with the logarithmic curve found in many places in nature, including rhinoceros horns.
In studying Nietzsche, I learned he felt a true masterpiece combines aspects of both the Apollonian and Dionysian. The Apollonian represents classical beauty, and the Dionysian represents Chaos.
I realized for the first time that abstract expressionists, and perhaps Pollack in particular, represented the Dionysian. This allowed me for the first time in my life, to have an appreciation for abstract expressionism, and that it can be used to create something new and wonderful.
In the evolution of my work, I have continually tried to evolve and depict Dali's vision to become more modern and refined. In doing this, I realized that the same geometry, as it became more and more chaotic and dense, looked more and more like Pollack's chaotic drippings and represented the Dionysian.
In previous work, I used that geometry to act as a volume to form a more classical representation of beauty.
Here, I have gone further to depict that all of space has form. Our senses and conception of scale disallow the magic of all the form that occurs in many densities all around us. Here, I have used fractals and organic forms to recreate the invisible that occurs all around us, every day, in every inch of our world. Just beyond our ability to sense,
Dali'Assumpta Corpuscularia Lapislazulina