My artistic practice focuses on the development and use of atypical means for representing the symbols of Language through digital imagery, texts, and sounds.
I became interested in language during a period of introspection while searching for answers to existential questions in the thesaurus-like organized structures of English language. My explorations led to the development of patented methods and custom software for language generation and representation.
Now, I create language-based artworks that can be read, heard, or looked upon, all of them differently representing the linguistic contents of possibly sayable speculations about human existence, aspirations, truth, art and death.
My textual art - comprising of wordscapes, documentalloids and thesauri poems - documents the transformations of sequences of English words into individual sentences, prose and poems. My working process starts with the digital construction of an initial sequence of words wherein each word is a synonym to its adjacent words. Next I try to find and highlight words that combined make a sentence that I like. Once a sentence has been discovered I may continue to expand the sequence looking for and highlighting other words the combinations of which make sense to me. The process is highly laborious, and subjective.
My digital sound art demonstrates how texts can be digitally transformed into sequences of non-speech sounds and experienced as musical abstractions.
My visual art is the result of a symbiosis between my imagination and custom software for generating English sentences and representing them as colourful visual patterns. The software enables the generation of different English sentences - which I use as an antidote to the boring predictability of my thoughts - and non-identical abstract patterns representing these sentences - which I use as elements of my artworks. My working process starts with the compilation of a text composed of sentences generated by the software. The sentences are then digitally converted by the same software into different visual patterns. Finally, I manually create a visual “translation” of the text by using computer mouse instead of paintbrush and generated by the software patterns instead of acrylic paints. It’s a highly subjective process executed in a way possible for the first time in the 21st century.