Paintings inspired by Deep Dream
David's Dream Oil on Canvas, 30"x60" 4/2021
Evening Dream Oil on Canvas, 30"x60" 6/2021
David Michelangelo Marble 17ft tall 1504
This series of paintings is based on images processed utilizing Googles Deep Dream Generator. When Google announced the utility it crated all sorts of waves in the digital art community. After thousands of cats and dogs generated, artists finally started to get a better handle of the capabilities and what kinds of image textures to use to create some very spectacular art.
In that imagery I noticed the ability to mimic and step beyond much of the effects I had been creating witg 3D volumes and the liquid forms of a 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 characteristic qualities in his religious and Nuclear Mystical works
David's Dream, Oil on Canvas, 30"x60" Louis Markoya 4/20201
Besides the liquid and baroque details I added through the Deep Dream program, I decided to bring the stature to life by suspending several airborne swatches of cloth bringing an entirely new live and dynamic feeling to the work. David now seems alive and enveloped in the
complexities of life. The few pieces of antigravitational cloth seem to lift the massive marble sculpture and make him alive and elegant.
Here again, in David's Dream, I have attempted to find a balance of the apollonian and dionysian as suggested d by Nietzche, to form a true masterpiece. Where the liquid and dream like forms of the background and body textures of David form the DIonysion and contrast with the baroque ornamentation and stoic marble form the Appolinian, Add the lifelike suspended cloth and we have a composition that explores many world in many ways.
Once I understood Nietzsche's concept I understood much of abstract expressionism, and in particular POllack. I was then able to utilize these seemingly unstructured styles to better convey the ideas and concepts behind much of Dali's Nuclear Mysticism and evolve them into the geometry I use today.
David is a masterpiece of Renaissance sculpture, created in marble between 1501 and 1504 by the Italian artist Michelangelo. David is a 5.17-metre (17.0 ft)[a] marble statue of the Biblical figure David, a favoured subject in the art of Florence
The pose of Michelangelo's David is unlike that of earlier Renaissance depictions of David. The bronze statues by Donatello and Verrocchio represented the hero standing victorious over the head of Goliath, and the painter Andrea del Castagno had shown the boy in mid-swing, even as Goliath's head rested between his feet, but no earlier Florentine artist had omitted the giant altogether. According to most scholars, David is depicted before his battle with Goliath. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for battle after he has made the decision to fight Goliath, but, before the battle has actually taken place. His brow is drawn, his neck tense, and the veins bulge out of his lowered right hand. His left hand holds a sling that is draped over his shoulder and down to his right hand, which holds the handle of the sling. The nudity reflects the story of David as stated in the Bible, I Samuel 17:38-39: "And Saul armed David with his armour, and he put an helmet of brass upon his head; also he armed him with a coat of mail. And David girded his sword upon his armour, and he assayed to go; for he had not proved it. And David said unto Saul, I cannot go with these; for I have not proved them. And David put them off him."
The twist of his body effectively conveys to the viewer the feeling that he is about to move; an impression heightened with contrapposto. The statue is a Renaissance interpretation of a common ancient Greek theme of the standing heroic male nude. In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture, initially materialised in the Doryphoros of Polykleitos (c. 440 BC). This is typified in David, as the figure stands with one leg holding its full weight and the other leg forward. This classic pose causes the figure's hips and shoulders to rest at opposing angles, giving a slight s-curve to the entire torso. The contrapposto is emphasized by the turn of the head to the left, and by the contrasting positions of the arms.
Michelangelo's David has become one of the most recognized works of Renaissance sculpture; a symbol of strength and youthful beauty. The colossal size of the statue alone impressed Michelangelo's contemporaries. Vasari described it as "certainly a miracle that of Michelangelo, to restore to life one who was dead," and then listed all of the largest and most grand of the ancient statues that he had ever seen, concluding that Michelangelo's work surpassed "all ancient and modern statues, whether Greek or Latin, that have ever existed."
The proportions of the David are atypical of Michelangelo's work; the figure has an unusually large head and hands (particularly apparent in the right hand). The small size of the genitals, though, is in line with his other works and with Renaissance conventions in general, perhaps referencing the ancient Greek ideal of pre-pubescent male nudity. These enlargements may be due to the fact that the statue was originally intended to be placed on the cathedral roofline, where the important parts of the sculpture may have been accentuated in order to be visible from below. The statue is unusually slender (front to back) in comparison to its height, which may be a result of the work done on the block before Michelangelo began carving it.
It is possible that the David was conceived as a political statue before Michelangelo began to work on it. Certainly, David the giant-killer had long been seen as a political figure in Florence, and images of the Biblical hero already carried political implications there. Donatello's bronze David, made for the Medici family, perhaps c. 1440, had been appropriated by the Signoria in 1494, when the Medici were exiled from Florence, and the statue was installed in the courtyard of the Palazzo della Signoria, where it stood for the Republican government of the city. By placing Michelangelo's statue in the same general location, the Florentine authorities ensured that David would be seen as a political parallel as well as an artistic response to that earlier work. These political overtones led to the statue being attacked twice in its early days. Protesters pelted it with stones the year it debuted, and, in 1527, an anti-Medici riot resulted in its left arm being broken into three pieces.
Evening Dream, Oil on Canvas, 30"x60" Louis Markoya 6/20201
When Salvador Dali depicted dorm utilizing molecular structures and rhinoceros horns in the 1950's he was bring 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. With the Apollonian representing classical beauty and the Dionysian representing 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 more 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 is 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,