Primordial Form (2020) Digital Arts by Luiz Claudio Rodrigues

Digital Arts, 70.9x51.2 in
$3,663.28
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Fine Art - Arte Contemporânea - Pintura sobre iPad. Reprodução em tela. A arte digital produzida por Luiz C. Rodrigues, experimenta a capacidade dos algorítimos delinearem imagens a partir de “ intervenções compartilhadas”, causando um rompimento entre imagens e realidade. A partir destas intervenções, obtém-se nuances plásticas lúdicas e ao mesmo [...]
Fine Art - Arte Contemporânea - Pintura sobre iPad. Reprodução em tela.
A arte digital produzida por Luiz C. Rodrigues, experimenta a capacidade dos algorítimos delinearem imagens a partir de “ intervenções compartilhadas”, causando um rompimento entre imagens e realidade
A partir destas intervenções, obtém-se nuances plásticas lúdicas e ao mesmo tempo poderosas. A mão humana é denunciada na obra. A oficina do artista terá uma interface cristalina, sua paleta um cristal transparente, seu pincel é o cursor do mouse determinando o fluxo de ações, sem a menor poeira , puro como um instrumento cirúrgico. Tudo é muito limpo. Entendo que uma boa concepção depende do que nos rodeia: asseio técnico e mental , luz clara, atmosfera estável. As qualidades do que nos rodeia tornam-se as qualidades da nossa obra.
A princípio não se imagina, não se estrutura. A obra simplesmente flui, se reinventa, surge de lapsos, de inteligência humana e de pseudo-inteligência algoritimal, que nos permite examinar mais de perto a natureza da criação de significado visual, por meio de um reflexo de nossa própria inteligência em uma máquina, e na resultante combinação das forças da riqueza sensorial a da inteligência da máquina.
Flui num esforço compartilhado entre estes protagonistas, despertando nuances plásticas incrivelmente lúdicas, absolutamente intuitivas e profundamente poéticas. Um paradoxo matemático na sua concepção estrutural, com resultante gestual, meio humana, meio inumana, ora absurdamente abstrata como a emoção, o pensamento, a sensação lúdica, ora figurativa e surreal proporcionada pela cor-energia e não cor-luz, produzindo composições que invocam fontes aparentemente atávicas ou subconscientes.

Fine Art - Contemporary Art - Painting on iPad. Screen playback.
The digital art produced by Luiz C. Rodrigues, experiences the ability of algorithms to delineate images from “shared interventions”, causing a rupture between images and reality
From these interventions, playful and at the same time powerful plastic nuances are obtained. The human hand is denounced in the work. The artist's workshop will have a crystalline interface, his palette a transparent crystal, his brush is the mouse cursor determining the flow of actions, without the slightest dust, pure as a surgical instrument. Everything is very clean. I understand that a good design depends on our surroundings: technical and mental cleanliness, clear light, stable atmosphere. The qualities of our surroundings become the qualities of our work.
At first, it is not imagined, it is not structured. The work simply flows, reinvents itself, arises from lapses, human intelligence and algorithmic pseudo-intelligence, which allows us to examine more closely the nature of visual meaning creation, through a reflection of our own intelligence in a machine, and in the resulting combination of the forces of sensory richness and machine intelligence.
It flows in a shared effort between these protagonists, awakening incredibly playful plastic nuances, absolutely intuitive and deeply poetic. A mathematical paradox in its structural conception, with gestural result, half human, half inhuman, sometimes absurdly abstract such as emotion, thought, playful sensation, sometimes figurative and surreal provided by color-energy and not color-light, producing compositions that they invoke apparently atavistic or subconscious sources.

Related themes

Arte Abstrata DigitalPintura DigitalArte Contemporânea DigitalPintura Sobre Ipad

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At the age of thirteen, as an apprentice intern, I worked at Forminform Studio - Visual Communication and Industrial Design - owned by Alexandre Wollner, Ruben Martins, Geraldo de Barros and Walter Macedo, owners [...]

At the age of thirteen, as an apprentice intern, I worked at Forminform Studio - Visual Communication and Industrial Design - owned by Alexandre Wollner, Ruben Martins, Geraldo de Barros and Walter Macedo, owners of the first formal Brazilian design studio where iconic logos were created such as the brand Bozzano, Casa Almeira, Braspérola, and the study of the Willys Overldand logo before it was acquired by Ford Motors. de Propaganda e Marketing de São Paulo), and Enrique Lipszyc's Escola Panamericana de Arte e Design de São Paulo, where I was a student of the renowned and late illustrator Manoel Victor Filho. From then on, I initially worked as a trainee for several advertising agencies in São Paulo: among them: Standart Propaganda, JW Thompson, Almap BBDO, Norton, Lage Daman and Expressão Brasileira de Propaganda, in the areas of creation, graphic design, illustration, writing and graphic engineering with a focus on merchandising.

In the plastic arts, several techniques were used – Crayon and Pastel on Schoeler, Watercolors on Canson and Acrylic on wood. However, today, my greatest interest in the digital medium, in the search for an emancipation that would allow me to expand my plastic experiments, came with image manipulation techniques using computational support; which allowed me to deepen my desire to achieve denaturalization, as it is of the utmost importance in neoplastic art. To denaturalize is to abstract. By abstraction I obtain the pure abstract expression. By denaturalizing I deepen consciously or unconsciously. I understand that it is not enough for the plastic artist of today to think about color: he must be color, eat it and transform it into a canvas. In my view, this is essential, and this was fully possible for me through the digital environments that allowed me to achieve a playful and poetic plastic conception.

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