This is an early version of a project that I’m working on: it shows a video of a hand in which the video is flipped as a mirror image in order to create a strikingly bizarre image resembling an alien creature.
The video is an attempt to highlight the way that even the things that we treat as totally normal and mundane are in fact full of strangeness and wonder.
In the video I’ve used the simple technique of mirroring something as a way of removing it from its normal context. Thus I’ve made something that is as familiar to us as our own hands (which are rarely outside our field of vision) look disconcertingly alien and other-worldly, like something we’ve never seen before. Who’d have thought that you had such things stuck on the ends of your arms? It’s all a bit disconcerting really.
A piece of abstract digital animation that uses my technique of overlaying multiple copies of the same image made to move relative to each other in simple ways and to interact with each other so that, for instance, the colour displayed in the resulting image changes.
This “starburst” animation is composed of multiple overlaid copied of a 36 pointed star.
A key motive behind these video animations is the linking of art and science through the exploration of the creation of complex forms from the interaction of simple forms, with particular reference to the creation of the incredible complexity of the universe from its incredibly simple building blocks. There’s more about this here: Complexity from simplicity: contemporary artworks.
This video, titled Spyk, is being exhibited in the London Group open exhibition, 7th November to 1st December 2017.
The video is from my series of videos in which multiple copies of relatively simple forms are rotated at different rates to each other, thus generating complex forms. There are more of them here.
The London Group was founded in 1913 by a group of artists including Lucien Pissarro, Henri Gaudier Brzeska, Jacob Epstein, Walter Sickert, Duncan Grant and Wyndham Lewis. Its aim was to be an artist-based group that could act as a counter-balance to establishment institutions such as the Royal Academy. Current members include artists such as Frank Bowling RA, Anthony Eyton RA and Dame Paula Rego.
I was interested to see during a shopping trip into London today that the current ‘branding animation’ that is running on all of the Apple computers on show in a department store that I visited had something of the look and feel of some of my own animations (shown below).
This is probably a coincidence. I can’t imagine that the designers in Apple’s branding department were trawling the internet and happened to come across my work. And then chose to adopt some of its style. Although you never know. They have to keep their fingers on the pulse after all – although I’m not sure how on the pulse my videos are, as the video that the Apple animation most resembles is several years now.
The Apple animation, which I can’t find on the internet, and therefore can’t point you towards, features the leaf on the Apple logo detaching itself and replicating itself to form a rotating circle composed of multiple copies of itself, changing size and colour but always retaining a degree of graphic simplicity.
The animation sequence to me had something of the feel of of mine. Of course it may only be me who sees any resemblance, due to my heightened sensitivity towards the design factors of the work I created. My work uses circles rather than leaf-shaped lozenges, my circles interact where they overlay while Apple’s simply overlay, and mine are different colours, but that’s not much of a difference in my book.
Assuming that there IS a resemblance of some sort I’m not sure whether to be pleased that a company of Apple’s status is using a similar style to mine, and thus validating it, or be annoyed that a company of Apple’s status is using a similar style to mine, as people would inevitably say “Your animation’s inspired by Apple’s, isn’t it?”.
A longer version of this animation, with more variation in the movement, can be seen here: Animation
The image above is an example of work from a series that I created specifically to explore concepts from the worlds of science and philosophy.
The original motivation behind the work was a wish to devise a visual means of expressing the concept that our incredibly complex universe is generated from the interaction of extremely simple fundamental forces that underlie the cosmos.
The image explores the generation of complex forms from simple forms. The image is composed of two identical grids of regularly spaced small circles, with one of the grids positioned one above the other and rotated so that the arrangement of circles on the two grids are at different angles to each other, meaning that they overlap.
A simple algorithm is applied to the overlapping grids that dictates that where the black areas of the circles overlap the blacks cancel each other out, effectively leaving white. See the two examples below, showing differing amounts of overlap.
The two simple overlapping grids of circles generate surprisingly complex patterns, forming multiple and various interacting rings, some of which are obvious while others are fugitive and seem to come in and out of existence as your eye scans the image.
What’s more, when the two grids are rotated relative to each other the whole formation of rings and patterns shifts and changes as the grids alter their positions relative to each other. See how the patterns in the image below aren’t the same as those in the image at the top.
The square grid in the image is a metaphor for the deepest, most fundamental and basic level of the physical universe, where nothing exists other than the simplest of all possible fluctuations in ‘nothingness’ itself (represented by the uniform circles).
Complexity and structure come into existence when this basic level of the physical universe – the grid of circles – interacts with itself, creating intricate forms that contain a new and complex internal structure. It is this complex internal structure that then gives rise to even more complex structures within the universe, for instance giving form to the elementary particles that act as the building blocks of the universe that we’re familiar with (while also giving form to the parts of the universe that we’ve got no inkling about, too) .
I like to think of the patterns in the images as metaphors for ripples in the fabric of reality.
For a long time I’ve been interested in the way that the landscape is transformed by the effects of sunshine and shadows, and by the way that we often hardly notice the extent of the difference between the two (other than by a general feeling of pleasure when the sun brightens things up – here in cloudy Britain anyway). The scene filmed here in the grounds of Hatfield House, Hertfordshire, hopefully captures some of the transformational effect of sun and shadow as the sun emerges from behind a cloud (and then goes in again).
The various people in the background add a surreal air to the whole scene.