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Copyright 2010 Arpiné Djenguerian. All rights reserved
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I use digital processes, animation and self-authored algorithms to produce numerous types of moving images through generative systems and coding practices. I alter form, color, space, dimensions to produce a multitude of compositional variations. The resulting abstractions are used as source material for some of my paintings or as an associative tool for others, or, alternatively, as a final digital work. The computer is not a substitute for painting. Rather, it is a tool that stimulates ideas for painting. I translate the virtual still with its clean, crisp outline and its three dimensional modeling into the textured medium of oil paint. This allows me to focus on painterly concerns. Working in oil paint instead of on algorithms forces me to go into an extra phase, one of translation and morphing. During this part of the process, I make decisions and change course, deflecting quick resolutions or alighting on happy accidents that may lead to other problems and new outcomes. This gives me ideas for ways to improve the digital process, and so a continuous feedback loop is created, each informing the other. As an engineer, I suppress the emotional part of my mind; as an artist, I use the intuitive part of my mind. For programming as a mode of creative expression, I combine both modes: the logical and the emotional. I work within this space. For me, algorithmic art is ethereal, ideal and pure, and so, it is separate from the earthiness of traditional paintings. By investigating art making from my position in the realm of the technology, I attempt to understand technology's potential and limitations. Simultaneously, in my paintings, I try to amplify the painterliness and its heritage.

Images