Paul (2003) stated in his book ‘Digital Art’ that:
“The use of digital technologies in almost evert arena of daily life has vastly increased during the past decades, leading to speculations that all forms of artistic media will eventually absorbed in to the digital medium, either through digitization or through the use of computers in a specific aspect of processing or production. (Paul 2003, p.27)”
According to Paul (2003), the number of artists who are working with digital technologies as tool for creating their artworks will only increase in the future and also entirely new form of digital techniques and media will be added and adopted as well. As she pointed out, there are many new medias have been introduced as a tool for creation of artworks such as net art, virtual reality, software art, and so on. The artwork components outline an essential feature of our association with technology and its developments.
Rhapsody Spray 1 (2000)
London-born artist Carl Fudge uses digital technology to creates geometric patterns composed of lines and planes of vibrant colours in silkscreen prints. According to Colombia Edu (2016), Fudge uses images from Japanese animation as drawing sources in much of his recent works. Then he digitally manipulates them for series of screen prints. The rendering turns the images into an abstract form as it is shown in Figure 1. The Rhapsody spray 1 was created based on the Japanese cartoon character Sailor Moon. Paul (2003) pointed out that even though the actual physical form of his prints remains in a traditional way, the interesting composition of shapes and colours gives a distinctive digital feel to viewers. These pop cultural Japanese animation has been widely used for other digital artists as well (Paul, 2003, p.55).
Figure 1. Rhapsody Spray 1 (2000) Carl Fudge
Irrational Geometrics (2014)
Pascal Dombi is a French digital artist who has spent time working with computers and algorithms in creating simple repetitive forms including designs. Nechvatal (2014) described his work as it entails the use of inconsistent coexistence in shaping the destructing structures by building up illogical environments and later project them to different surfaces which include wall paintings and other screens (Nechvatal, 2014). In his interview with Chiang in 2016, he explained how his prints were employed experimentally by trying different variations of inking levels on the same plates several times then print them on various materials. Figure 2 is one of his famous series created in year 2014 and Dombi said it doesn’t contain binary meanings but the multiple viewpoint deals more with perspectivism (Chiang, 2016).
Figure 2. Irrational Geometrics-C B5 (2014), Pascal Dombis
The tunnel under the Atalantic (1995)
Maurice Benayoun is known to be one of experienced digital media artists in France. In 1987, he founded Studio Z-A which became the first example of professional studio equipped with computer-made images. Benayoun’s work shown in Figure 3, tunnel under the Atlantic, was created in year 1995. According to the Asquare Network Research (2012). It is a televirtual art installation, established a link between Montreal and Paris, where two towns physically distant by thousands of miles. The Tunnel enabled hundreds of people from both sides to meet like a virtual bridge (Asquare Network Research, 2012). He created this televirtual event by using digital screens, cameras, and audio systems.
Figure 3. The tunnel under the Atalantic (1995) Maurice Benayoun
As Patti (2011, p.79) mentioned, twenty years ago, the work environment was very different, and people used big computer screens installed by experienced technicians and meet people one on one during the performances while nowadays technology has improved due to the availability of laptops which can perform both simple and complex works. Through advanced media technology, the number of people who can access particular media artist content at a time has much increased (Koltay, 2011, p215).
Chiang, C., 2016. AN INTERVIEW WITH ARTIST PASCAL DOMBIS. [online] ArtAndOnly. Available at: <https://www.artandonly.com/irrational-geometrics-an-interview-with-artist-pascal-dombis/> [Accessed 28 Oct. 2016].
Columbia.edu, 2016. LeRoy Neiman Center for Print Studies. [online] Columbia.edu. Available at: <http://www.columbia.edu/cu/arts/neiman/Fudge/> [Accessed 27 Oct. 2016].
Koltay, T., 2011. The media and the literacies: media literacy, information literacy, digital literacy. Media, Culture & Society, 33(2), pp.211-221
Nechvatal, J., 2014. The Irrational Geometrics of Pascal Dombis. [online] Caldaria.org. Available at: <http://www.caldaria.org/2014/05/the-irrational-geometrics-of-pascal.html> [Accessed 27 Oct. 2016].
Asquare Network Research, 2012. The Tunnel under the Atlantic. [online] asquare.org-network research. Available at: <http://www.asquare.org/networkresearch/2012/the-tunnel-under-the-atlantic%5D> [Accessed 27 Oct. 2016].
Patti, L., 2011, Global Art Cinema: New Theories and Histories, Film Criticism, 36, 2, pp. 78-80
Paul, C., 2003. Digital art. New York: Thames & Hudson. P.27
Figure 1. Fudge, C., 2000. Rhapsody Spray 1 (2000) Carl Fudge. [image] Available at: <http://www.artnet.com/Magazine/reviews/mmendelsohn/mendelsohn4-4-4.asp> [Accessed 27 Oct. 2016].
Figure 2. Le Journal, 2016. Irrational Geometrics-C B5 (2014), Pascal Dombis. [image] Available at: < https://www.artandonly.com/irrational-geometrics-an-interview-with-artist-pascal-dombis/ > [Accessed 27 Oct. 2016].
Figure 3. benayoun, m., 2003. The tunnel under the Atalantic (1995) Maurice Benayoun. [image] Available at: <http://www.benayoun.com/Tunnegb2.htm> [Accessed 28 Oct. 2016].