liquid lucid

Back in 2016, while I was still in my MA Fine Arts degree, and after having already been working on experimental typography and digital manipulation of text and imagery, I came across the term glitch, and quite later on that year, Glitch Art.

 

Glitch art refers to the practice of using digital or analogue errors to produce aesthetic outcomes, by either corrupting digital data or physically manipulating electronic devices.

The potential of using a “mistake” to make art, of manipulating something “correct” to (re)create a new outcome, or even come across a new outcome in the case a new outcome is a “by-product” of a random accident or of a random manipulation of a file that will consequently bring up a new result.

 

In light of these findings, I started working on a series of various studies on the distortion of an image or of text with much emphasis given on colour saturations, linear compositions, and digital geometrical elements that I then consequently started to manipulate in a manner of digital collage and compositions.

 

What is more, using the glitch artwork as a basis, I started including other visual elements—layered, or layered on top—maintaining a digital aesthetic in the new compositions, but still keeping the “digital aesthetic” code in the work.

For me, the most interesting aspect of this project overall was the analogue logic I used in order to start composing digital artwork, layering and building visuals on multiple surfaces just as I would do on a piece of paper.

Colour, as I mentioned, was key, as it defined my workspace and led and directed all the imagery and combinations accordingly.