From:
DIGITAL BRUSHSTROKES:
DIVERSE TECHNIQUES IN CONTEMPORARY DIGITAL PAINTING
By
A Thesis
Submitted in Partial Fulfillment
of the
Requirements for the Master of Arts
with a
concentration in Media Studies
in the
Department of Art
The School of
Arts and Sciences
Rhode Island
College
2011
JOSEPH
NECHVATAL
Starting
at page 26
Joseph
Nechvatal
Joseph
Nechvatal, founder of the Computer Virus Project, has been utilizing technology
to make art since 1986. Nechvatal describes his paintings as computer-robotic
assisted acrylics on canvas created with a virus-like computer program.
Nechvatal works with a programmer who creates a virus within the computer. The
files are then transferred to a computer-driven robotic machine, which paints
with a brush onto canvas. Originally trained as a performance artist and
painter, NechvatalÕs work focuses on the Òaesthetic sensations linked to
concepts of technology, a mental prosthetic. And the function of this
prosthetic art is to create by extenuation different technological-aesthetic
percepts.Ó(Popper 3) Patterns and color saturation are key elements in
NechvatalÕs paintings, which are directly created and/or influenced by the
behavior of the virus. The energy of the virus directly affects the tonality
and luminosity of the final image. As a digital artist, Nechvatal believes
technology enables the artist to have more freedom than traditional painting,
architecture or sculpture. He is interested in how the artist is able to
utilize technology in a challenging manner. ÒItÕs by violating the traditional
limitations that art and technology have heretofore defined themselves that
there is room to really run.Ó (Pocock 52) The paintings created by Nechvatal
each take on their own set of moods through the happenstance of colors,
contrasts, highlights and saturation of color, which are created by the
virus-like program altering and transforming the image. The characteristics of
NechvatalÕs paintings are ambiguously and androgynously sexually themed. As the
computer virus continues to attack the image, its ambiguity becomes stronger.
Figure
1 Joseph Nechvatal, Orgiastic abattoir, 2003,
computer-robotic
assisted acrylic on canvas, 44Ó x 66Ó.
image
used with artistÕs permission
NechvatalÕs
painting titled, Orgiastic abattoir (Figure 1) is part of a exhibition titled
Aventures Virales (Viral Adventures ) and is considered a Òvirtual
hermaproditeÓ as images
of testicles, ovaries, female breasts and buttocks of both males and females
are manipulated with a computer virus. The saturation of red, yellow and
magenta are presented as an opaque layer of color on top of a transparent layer
of flesh tones. Beneath the flesh tone layer is yet another layer of brown
tones. It is unclear whether the two round shapes at the top of the composition
represent male or female sexual body parts.
Figure
2 Joseph Nechvatal, voluptuary droid dŽcolletage, 2001,
computer-robotic
assisted acrylic on canvas, 66Ó x 120Ó.
image
used with artistÕs permission
In
voluptuary droid dŽcolletage (Figure 2) the layers of color placed upon each
other create a texture throughout the composition. The painting is divided into
four sections from left to right. The first section of various hues of blue
appears pixilated, representative of a virus eating away at the forms depicted.
The second section, a vertical yellow stripe, divides the painting with a
strong emphasis. In the third section, a voluptuous woman is lying with her
backside in view. The right section of the painting contains purples, blues,
greens and dark reds, which seem to represent veins in the human body.
Nechvatal blurs the line between male and female throughout his paintings,
which is evident in voluptuary droid dŽcolletage also.
Figure
3 Joseph Nechvatal, debauched tissue exstasis, 2002,
computer-robotic
assisted acrylic on canvas, 77Ó x 51Ó.
image
used with artistÕs permission
In
debauched tissue exstasis (Figure 3) there are once again representations
of breasts, testicles, buttocks and ovaries, but they are placed within a grid.
(Nechvatal, ÒVoluptuousÓ 2) There is a vivid rectangle of bright red and blue
placed horizontally across the painting dividing the composition. As I view
this painting, I become more and more curious as to what lies beneath the
surface of color. The transparency of colors in this painting gives a sense of
depth between the background and the foreground.
Figure
4 Joseph Nechvatal, hermapOrnOlOgy OvOid maxism 2002,
computer-robotic assisted acrylic on canvas, 44Ó x 88.5Ó.
image
used with artistÕs permission
Similarly,
hermapOrnOlOgy OvOid maxism (Figure 4) presents the viewer with a
composition enhanced with transparent colors. The two oval shapes in the center
of the painting are just close enough to touch one another, but just far enough
away from one another as to not invade each otherÕs space. The reference to
male and female reproductive organs is not as evident in this painting as it is
in many of his other paintings. However, that is what makes this painting so
interesting Ð its abstract quality leaves me wanting look further as I want to
learn more about what is being depicted. The colors in each section of
NechvatalÕs painting are strong enough to stand on their own and form their own
composition. The androgyny of the subject matter in NechvatalÕs paintings lends
itself to a world of possibilities. Nechvatal attempts to imitate the decay
within our world (foot note) with respect to the human body as he utilizes a
computer virus to attack his paintings. ÒThe hybrid image suggests an
androgynyÉ which depicts transmutation as a universal principle driving the
nature of the world.Ó (Paul 57-58) The outcome is out of his control, as is the
case when a virus such as AIDS or cancer attacks the human body. Intriguing and
mysterious, Nechvatal feels that he able to successfully express himself as a
digital artist. (Nechvatal, Email Interview)
***
foot
note :
Nechvatal writes about how he attempts to imitate the decay in the world
through his images in an article which can be accessed at the website Eye With
Wings :
http://www.eyewithwings.net/nechvatal/Paris07/WWWParis07.htm
Joseph
Nechvatal Email Interview
by
Michelle Tavano
February
8, 2010
Michelle
Tavano: Your
paintings are created by a robot via a computer virus, which influences the
outcome of the image. How do you maintain a personal connection with your
paintings as your hand is not holding the paintbrush used to create the brushstroke?
Joseph
Nechvatal: My
personal connection is maintained in the decisions and aesthetic choices I
make.
MT:
Your
art is heavily influenced by the AIDS virus and its emotional
connection/influence in your life. Do you feel that your paintings reflect how
you envision the AIDS virus to look visually?
JN:
No. The
work is metaphoric. Not illustration. Using C++ framework, I and my programmer
Stephane Sikora have brought my early computer virus project into the realm of
artificial life(A-Life) (i.e. into a synthetic system that exhibits behaviors
characteristic of natural living systems). With Computer Virus Project 2.0,
elements of artificial life have bee introduced in that viruses are modeled to
be automonomous agents living in/off the image. The project simulates a
population of active viruses functioning as an analogy of a viral biological
system. Among the different techniques used here are models that result from
embodied artificial intelligence and the paradigm of genetic programming.
MT:
What is
the one thing you would like your students to learn from you as an artist?
JN:
My hope
is that they learn to love art and love to learn about it and trust their urges
about it.
MT:
What
artists have you been most influence by?
JN:
Marcel
Duchamp
MT:
Do you
feel that digital painting enables you to express yourself effectively as
compared to traditional painting?
JN:
My-
yes. Today I think the logo representational paradigm is being replaced by the
new one based dynamic systems, connectionism, situatedness, embodiedness, etc.
Ð connectionism replacing congnitivism and symbolic models; emergentist,
dynamic and evolutionary models eliminating reasoning on explicit
representations and planning; neuroscience eliminating cognitive processing;
situatedness, reactivity, cultural constructivism eliminating general concepts,
context independent abstractions, idealtypical models. Emerging is a new
ÒsyntheticÓ paradigm: a paradigm that puts together, in a principled and non
eclectic way, cognition and emergence, information processing and
self-organisation, reactivity and intentionality, situatedness and planning,
etc.
MT:
Should
your art be exhibited in a traditional gallery or an online gallery? Which do
you pefer? How and is the piece different in each gallery?
JN:
My
preference is to show the actual canvases in real space and light.
MT:
What do
you enjoy about working in digital painting as your primary medium?
JN:
In my
case, I was lead to programming through my involvement with art. I had a very
minor interest in programming way back when I was in college (my brother was
into it) and I even studied fortran there Ð but art was Ð and is Ð my first and last
passion. I came hard to computers in general through the interest in ideology
and power that I was researching in the 80s with my drawings and
photo-mechanical blowups of the drawings.