The path of geometry and art was formed for me by the late paintings of Kandinsky, Mondrian’s Broadway Boogie Woogie, and the machine aesthetic of artists like Charles Sheeler and Gerald Murphy. As a young painter in the seventies, I was looking for my own route beyond Minimalism. The complexity and physical beauty of electronic circuits and electronic devices was compelling. My paintings and drawings became dense with a precise linear geometry.
In 1980 I acquired a personal computer and began learning programming. I discovered that the procedural nature of programming parallels a significant part of the art-making process in abstract art. For instance, artists like Larry Poons, Sol LeWitt, and Jackson Pollock sometimes used structured visual procedures to generate their images. While a computer program may use a complex series of mathematical algorithms, the visual artist generally uses simpler procedures. But the process is similar whether the algorithms are simple or complex. After developing some programming skills, the methodology of writing software to create images became utterly natural.
My work attempts to directly use the digital nature of the computing machinery. Indeed, it is hard to imagine creating these works with any other medium.
Rather than trying to disguise pixels, they have become the central element of my art making. My hope is that this technique will reveal a new visual geometry that could not have been implemented before computers.
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more information about the artist
email Mark Wilson