The «Cashed Metadijital Homunculus» is an exhibition of modern digital art and near digital art. The project is an AR filter series, followed by both general ideas and visual forms, and an exhibition.
The exhibition is based on the observation of the complex characteristics of modern digital painting and the culture of digital visualization in general. Important aspects of this are: scrubbing the style, unrecognisability of the tool, reception of the artist in the condition of brilliant interaction with the programs.
The filter series uses both the elements of the exhibition and the following basic concept of a set of effects and algorithms.
The overall cosmicity of the images consists of vaguely shared interspersive and naturally related components: 1. A scrambling of the balance field of the figureatic abstraction, maximum subtleization and lubricating of such a boundary.
- All right, all right, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay. «Lichina» (an alluvial trichotomy of the Floren Lyk-Licio-Lichin) is a misunderstanding, a man’s barely reading of facial signs, «smilelic», «girl pals» of human forms, ala F. Bacon, or the earliest, weak I.I. image generators, etc.
- It is completely impossible to structure the use of even general mass characteristics. Not eclectic, but total breach of style membranes and conditional combination rules. Ecclesiasticality makes it possible to clearly identify borrowing and/or the source of the element, but it doesn’t give you any clues.
- All right, all right, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay, okay. Wiping the method, wasting the medium. A braccal approach to tools and overloading with effects, filters, used and misuse.
- I’m not sure what I’m talking about. It’s more important that they can’t be cocktailed, recognized. The final work is so «overworked» with effects that it is not clear where the effect is applied. All the receptions lick each other in the bucket. The layers of effects are set in such a way that it is not possible to determine sequences or to specify a component. Because of «re-processing», you can’t distinguish a photograph from digital painting, from real painting, from generation, etc. All receptions and psychics are used in a complex and in a large number of ways, depriving them of a clear divisional capacity => Solanka-pure.