Genine Larin (Queensland, Australia) Empathic Gestures, 2023 screen capture, Miro mind map 10.8 x 7.6 inches Theme: The desire to explore the inner space between unconnected cognitive, affective, and somatic aspects of being and find links between them. I like to observe the somatic, affective, …
Seda Saar (California, USA) Avata AI, 2018 source-manipulated images of code screenshots, digital painting, acrylic, ink, acrylic markers, metallic markers, archival print, canvas 30 x 40 x 2 inches I use shapes, lines, and colors as three-dimensional elements, like layers, in order to communicate. My …
digital Chladni plate frequencies simulation
24 X 24 inches
Many times, we say, “science does not believe in god.” My intention is to connect science, and the belief in a divine source like God in open definition, through the belief in nature genius. I will call nature to all manifestations on planet earth, the beauty and elegance of life, and all physical laws as part too. We all are part of these divine performances on Earth. In this image, I use Chladni plate frequencies simulation to represent the frequency of 963 Hz, well known as the voice of God and overlaps with waves of the pattern. Using a technology program that emulates how the Chladni plates work, my intention is to connect technology, science, and natural behavior in a beautiful overlap image that will represent the movement of how acuity of the sound clear shapes and we cannot see. If science believes in nature, it believes in God too. A god that maybe needs to be reframed as well as technology. Nature is a divine technology to be discovered. In this image, I use Chladni plate frequencies simulation to represent the frequency of 963 Hz, well known as the voice of God, and overlaps with waves y nods of the pattern. Using a technology program that emulates how the Chladni plates work. My intention is to connect technology, science, and natural behavior in a beautiful overlap image that will represent the movement in time of how the sound creates shapes, and we cannot see. If science believes in nature, it believes in God too. A god that maybe needs to be reframed and technology in the definition. Nature is a divine technology waiting to be discovered.
Ray Ogar (Arkansas, USA) Oneironautic Harvester Somnu, 2021 digital edit of handmade collage from cut paper, found images, personal illustrations 18 x 12 inches Exo-scale device to harvest oneironautic fluid (dream ocean), with graphs, images, objects, devices, and landscapes pertaining to the Zero Landmass Institute. …
Cheryl Chudyk (Washington, USA) From Methane to Urea for Cattle Feed and More, 2022 digital collage 19 x 23.75 inches India has over 300 million cows, and these cattle, as well as goats and other ruminant animals, produce over 13 tonnes of methane yearly. Methane …
oil, plywood
9 x 12 x 2.5 inches
In the early twentieth-century, art historian Heinrich Wölfflin pioneered the use of comparison: two images, presented side by side, revealed their differences and similarities. In the 1920s, film director Sergei Eisenstein explored the political potential of montage, the splicing together of two filmic images to create new and revolutionary meanings. In the 1930s, Walter Benjamin described the flash of an image when two different times, the past and the now, exploded together to form what he called a ‘constellation’ of meaning. Side by side, before and after each other, images and meanings exceed the sum of their parts when placed together. These painted images may or may not have been DVD covers from when I worked at a video rental store a long time ago. Perhaps I watched the films, or perhaps I just rearranged them back on the shelf. I can’t remember: it was a long time ago. But side by side, the interplay between works from different times and places allows two unknowns to meet, already interrelated but still yet to be watched.
Liz Blum (Massachusetts, USA) Space Junk, 2022 digital collage 13.5 x 24 inches Our knowledge and information of the world get filtered through layers of distraction, and our visual periphery is directed through screen interface frames, isolated parts guiding us toward networks and webs of …
Beverly West Leach, (Alabama, USA) We Need To Be Taught, 2021 collage, substrate copy from page of a 1949 world atlas, found images, Elmer’s glue, colored paper, gel pen 12.5 x 9.25 inches The starting point is my musings on our place in the universe …
collage
18.5 x 18.5 inches
Universal Territory was created during COVID-19 lockdown, a time when the entire world was isolated and people were afraid of each other. I started to imagine a universal territory, a world with no borders, a land that belongs to everyone and doesn’t segregate individuals but builds bridges instead, a place that allows a deeper connection with nature, spirituality, and human behavior. This piece has no beginning or end. No matter where you start, you can see how elements interact, creating multiple connections contained in one world.
Claudine Metrick (New York, USA) The First Spring, 2021 silkscreen, Kitakata paper, colored pencil, Dura-Lar, monofilament, split shot 75 x 70 x 24 inches The First Spring consists of a silkscreen field of beech and maple leaves over which is suspended brightly colored Mourning Cloak …