Explore the Objects
Computer Graphics and Animation
A computer is a machine that can be programmed to carry out a sequence of logical operations and in computer art, the artist, or collaborator, engineers the computer’s capacities (via programming) to achieve artistically distinctive ends. Computer engineers and mathematicians were among the first to apply computer to artmaking in the 1960s, when large computers first became available. Research labs, such as Bell Labs in New Jersey, USA, brought artists and computer scientists together to collaborate on developing computer graphics and animation. Since then, with the development of personal computers and graphics workstations, the fields have grown exponentially. This exhibition focuses upon achievements in abstract art.
Carla Chan
I Clone your Digital Soul, 2020
Acrylic on canvas
I Clone your Digital Soul is a
series of paintings done using a custom-made, 3-dimensional
spraying machine. The work explores such questions as, "do
art machines then possess a “soul?”, demonstrating that the
process of using machines to make art has unexpected
outcomes, which support the belief in the possibilities of a
creative path beyond that made by an individual act.
Max Hattler
Serial Parallels, 2019
Photographic still from video
This experimental portrait of Hong Kong
approaches the city’s built environment from the conceptual
perspective of celluloid film, by applying the technique of
film animation to the photographic image. Hong Kong’s
signature architecture of horizon-eclipsing housing estates
is reimagined as parallel rows of film strips: Serial
Parallels.
Tamás Waliczky
Spiral Camera, 2016/2018
Computer graphic digital inkjet print on
Hahnemuhle paper, 119 x 84 cm
Glass-plate cameras were only manufactured
for a short time and fascinated me. I could not tell how
they were built and imagined my own. This camera records
films of a couple of seconds onto the small, circular photo
papers, stuck in spiral form on the central glass plate. The
glass plate must not only rotate, but as the recording
proceeds, must also move horizontally.
Max Hattler
Voertex, 2020
Concept art for video
Vœrtex is part of Max Hattler’s
ongoing artistic research into expanded stereoscopy:
techniques and processes which employ binocular vision in
unconventional ways to create spaces where depth relations
are disjointed and paradoxical, where binocular rivalry is
used to create unique visual effects, or where new
dimensionality and visual intensity are excavated from flat
source material.
Mike K. M. Wong
Simplexity 02, 2020
Computer-generated image (Inkjet print)
Simplexity 02 features a
photo-realistic rendering of an imaginary organic structure
which is grown using an experimental space filling
algorithm. This work belongs to an on-going generative art
project by the artist that explores how visual complexity
emerges through various iterative processes.
Tamás Waliczky
Muybridge Camera, 2017/2018
Computer graphic digital inkjet print on
Hahnemuhle paper, 119 x 84 cm
This camera is named after Eadweard
Muybridge, the first who was able to record motion, using 24
sequential photographs of a galloping horse. This camera has
12 lenses in a long row in the front, with a slider visible
on top, with which I can take photos in sequence.
Vvzela Kook
Orzersk Machine, 2020
Mixed media
Orzersk Machine is a virtual
machine that is built to give effective solutions to given
situations such as man-made disasters or political scandals.
The “disinfected” information leads to a Skazochnyi
(Russian: fairy-tale) dystopia which, however, functions as
an elysium for the authorities.
Tamás Waliczky
Flipbook Camera, 2016/2018
Computer graphic digital inkjet print on
Hahnemuhle paper, 119 x 84 cm
The flipbook records 3-4 seconds of film
onto postcard size sheet-film. The camera is a wheel-shaped
structure drive by a crank. A sheet faces the light
streaming in through the lens, records the image while a
barrier delays the placement of the next sheet until ready.
Tamás Waliczky
Clockwork Camera, 2017/2018
Computer graphic digital inkjet print on
Hahnemuhle paper, 119 x 84 cm
This camera is inspired by clockworks.
Early cameras like mechanical clocks had a periodic motion
with the second-hand jumping ahead and then stopping, just
like the conveyance of film; both used spring motors that
needed to be wound. Here I have created camera that needs to
be wound just like a clock.
anothermountainman (Stanley Wong)
back to the future / tai chi, 2014
2014 / video / 6'27"
This video work features a robot who, it
seems, is alone, at the end of the world performing his Tai
Chi. The movements of the robot were created by the motion
capture of a real Tai Chi master and thus the work
represents a true synthesis of man and machine, just as Tai
Chi itself embodies the synthesis between the yin and the
yang.
Tamás Waliczky
Flipbook Jukebox, 2018
Computer graphic digital inkjet print on
Hahnemuhle paper, 119 x 84 cm
The flipbook is the original version of
the moving image; here I was experimenting with a machine
that could play longer films with the flipbook technique.
The design allows you to move freely among the various
scenes, by moving the viewer on the central band in an
interactive non-linear manner, similar to that of a jukebox.
Tamás Waliczky
Mirror Camera, 2017/2018
Computer graphic digital inkjet print on
Hahnemuhle paper, 119 x 84 cm
This design is based on Alexander
Wolcott’s camera that only uses light entering through a
hole, reflected by a central concave mirror onto
light-sensitive paper. But whereas Wolcott used one small
paper after another for individual photos, here the photo
papers stand in a circle and can be rotated by moving an arm
at the top to create a film.
Tjebbe van Tijen
SCMURAL, 2011
Digital montage, printed
This massive mural encompasses the history
of technologies and media used for making art and
communicating through the ages. It ranges from Chinese
shadow puppets and scroll painting, through the magic
lantern and stereoscopic viewfinders, to James Cameron’s 3D
rig for Avatar and Shaw’s AR artwork, The Golden
Calf. The scroll made a study of what van Tijen
called “pre-cinematic” principles, not in the form of an
academic study but as an associative montage that combines
both visual links between different elements, and formal
resonances between images.
Carla Chan
I Clone your Digital Soul, 2020
Acrylic on canvas
I Clone your Digital Soul is a series of paintings done
using a custom-made, 3-dimensional spraying machine. The work explores such
questions as, "do art machines then possess a “soul?”, demonstrating that the
process of using machines to make art has unexpected outcomes, which support the
belief in the possibilities of a creative path beyond that made by an individual
act.
X
<
>
Max Hattler
Serial Parallels, 2019
Photographic still from video
This experimental portrait of Hong Kong approaches the city’s
built environment from the conceptual perspective of celluloid film, by applying
the technique of film animation to the photographic image. Hong Kong’s signature
architecture of horizon-eclipsing housing estates is reimagined as parallel rows
of film strips: Serial Parallels.
X
<
>
Tamás Waliczky
Spiral Camera, 2016/2018
Computer graphic digital inkjet print on Hahnemuhle paper, 119 x
84 cm
Glass-plate cameras were only manufactured for a short time
and fascinated me. I could not tell how they were built and imagined my own.
This camera records films of a couple of seconds onto the small, circular photo
papers, stuck in spiral form on the central glass plate. The glass plate must
not only rotate, but as the recording proceeds, must also move horizontally.
X
<
>
Max Hattler
Voertex, 2020
Concept art for video
Vœrtex is part of Max Hattler’s ongoing artistic
research into expanded stereoscopy: techniques and processes which employ
binocular vision in unconventional ways to create spaces where depth relations
are disjointed and paradoxical, where binocular rivalry is used to create unique
visual effects, or where new dimensionality and visual intensity are excavated
from flat source material.
X
<
>
Mike K. M. Wong
Simplexity 02, 2020
Computer-generated image (Inkjet print)
Simplexity 02 features a photo-realistic rendering of
an imaginary organic structure which is grown using an experimental space
filling algorithm. This work belongs to an on-going generative art project by
the artist that explores how visual complexity emerges through various iterative
processes.
X
<
>
Tamás Waliczky
Muybridge Camera, 2017/2018
Computer graphic digital inkjet print on Hahnemuhle paper, 119 x
84 cm
This camera is named after Eadweard Muybridge, the first who
was able to record motion, using 24 sequential photographs of a galloping horse.
This camera has 12 lenses in a long row in the front, with a slider visible on
top, with which I can take photos in sequence.
X
<
>
Vvzela Kook
Orzersk Machine, 2020
Mixed media
Orzersk Machine is a virtual machine that is built to
give effective solutions to given situations such as man-made disasters or
political scandals. The “disinfected” information leads to a Skazochnyi
(Russian: fairy-tale) dystopia which, however, functions as an elysium for the
authorities.
X
<
>
Tamás Waliczky
Flipbook Camera, 2016/2018
Computer graphic digital inkjet print on Hahnemuhle paper, 119 x
84 cm
The flipbook records 3-4 seconds of film onto postcard size
sheet-film. The camera is a wheel-shaped structure drive by a crank. A sheet
faces the light streaming in through the lens, records the image while a barrier
delays the placement of the next sheet until ready.
X
<
>
Tamás Waliczky
Clockwork Camera, 2017/2018
Computer graphic digital inkjet print on Hahnemuhle paper, 119 x
84 cm
This camera is inspired by clockworks. Early cameras like
mechanical clocks had a periodic motion with the second-hand jumping ahead and
then stopping, just like the conveyance of film; both used spring motors that
needed to be wound. Here I have created camera that needs to be wound just like
a clock.
X
<
>
anothermountainman (Stanley Wong)
back to the future / tai chi, 2014
2014 / video / 6'27"
This video work features a robot who, it seems, is alone, at
the end of the world performing his Tai Chi. The movements of the robot were
created by the motion capture of a real Tai Chi master and thus the work
represents a true synthesis of man and machine, just as Tai Chi itself embodies
the synthesis between the yin and the yang.
X
<
>
Tamás Waliczky
Flipbook Jukebox, 2018
Computer graphic digital inkjet print on Hahnemuhle paper, 119 x
84 cm
The flipbook is the original version of the moving image; here
I was experimenting with a machine that could play longer films with the
flipbook technique. The design allows you to move freely among the various
scenes, by moving the viewer on the central band in an interactive non-linear
manner, similar to that of a jukebox.
X
<
>
Tamás Waliczky
Mirror Camera, 2017/2018
Computer graphic digital inkjet print on Hahnemuhle paper, 119 x
84 cm
This design is based on Alexander Wolcott’s camera that only
uses light entering through a hole, reflected by a central concave mirror onto
light-sensitive paper. But whereas Wolcott used one small paper after another
for individual photos, here the photo papers stand in a circle and can be
rotated by moving an arm at the top to create a film.
X
<
>
Tjebbe van Tijen
SCMURAL, 2011
Digital montage, printed
This massive mural encompasses the history of technologies and
media used for making art and communicating through the ages. It ranges from
Chinese shadow puppets and scroll painting, through the magic lantern and
stereoscopic viewfinders, to James Cameron’s 3D rig for Avatar and Shaw’s AR
artwork, The Golden Calf. The scroll made a study of what van Tijen
called “pre-cinematic” principles, not in the form of an academic study but as
an associative montage that combines both visual links between different
elements, and formal resonances between images.
X
<
>
