I visited Kinetica 2010 this weekend. A show full of artists who make things which move. Very few of them seemed to be interested in depicting human motion; much of it was just sophisticated interior design, like expensive Fiber Optic lamps, but the inclusion (this year) of some of the pioneers of kinetic/electronic art left the impression that a radical art practise based on electricity was possible. Inevitably, hardly any of the kinetic master pieces still worked, for example, Edward Ihnatowicz’s SAM flower was dead on the spot.
The real excitement of the show was in a few young artists who treat computers/electronics/projectors as a natural component of art. What I suppose you could call the Digital Artists.
I was inspired by the work of Daniel Hirschmann: prints generated using webcams and algorithmically manipulated in Processing. He described how he used a live camera feed as a palette of colours.
Movement generates various particle systems that are attracted to the centres of the detected movements. These particles become the brush strokes, rendering themselves based on the colour palette of the live video stream. He then prints these vector images out as Giclee prints and sells them. Every print is highly detailed, can be generated by the buyer, and is unique. I was very impressed by his art model, and also by the type of effects he had programmed. This is the type of model I had in mind for the London-Boccioni prints.
Some of Daniel’s works are precise, geometric, delicate & often light infused you can find out more about his art on his website.
For my project, I had something more fluid in mind. Here’s a photo taken on the bus on the way home which suggests a churning kinetic London.