VECTOR EXPERIMENT: AMERICAN BANDANA (STONEWASHED)

 

VECTOR EXPERIMENT: SHEET METAL II

 

VECTOR EXPERIMENT: BLOC PARTY

 

VECTOR EXPERIMENT: INDUSTRIAL NOUVEAU

 

NEW HIEROGLYPHS - EXPERIMENTAL WORK

Digital composition features a mix of geometric vector shapes overlaid with natural real-world paintbrush strokes, vectorised.

New Hieroglyphs, Vector drawing.

MISTAKES & SPLATTERS

I just spent an inordinate amount of time trying to configure these paint splats and squares into something that somehow achieved a balance, while at the same time being not balanced. 

Experimental Vector Drawing, 2021

PERIPHERAL VISIONS 02

 Below: Colony Collapse II / Vector Composition

PERIPHERAL VISIONS / 01

In the case of my 'analog' art ( canvas, paints, pencils, paper ), I've already mentioned that I rarely use sketchbooks. That is, when I start a piece of work, it's usually with the intention of getting it to a completed state ( whatever that is, it's a bit of a philosophical question ). Cont'd...

Below: Datastream Arabesque Glitch Experiments / Vector Composition

In contrast, my digital / vector art, is exactly the opposite. Each finished piece has dozens of staging points, most of which are to be found around the edge of the work space, off-screen. Re-opening a file containing not only the main piece, but all the iterations that later became the main piece, it's sometimes easy to conclude that these discarded elements and compositions can be worthy of re-examination. Sometimes they can even preferable to the artwork that I decided was the final-final version.

( Occasionally, even a discarded fragment can be worthy of inclusion, when viewed with fresh eyes after the event ).

It could be late at night, you're listening to your favourite podcast, or an album, and you are assembling and configuring shapes and forms, and editing colours, and thinking of depth and space. Sometimes you are not thinking at all, just simply throwing things around. 

What these iterations represent, are slices of time. 

Below: Datastream Arabesque Glitch Experiments / Vector Composition

All artwork on this blog, unless explicitly stated otherwise, is property of Alexi K.

2 0 2 1

WELCOME

Yes, I'm still here. So are you. I've been very busy off the grid in 2020, using lockdown to work on other projects in other disciplines.

How has it been for you?

I want to hear from you. Due to time constraints, I don't activate the 'comment section' because I wouldn't be able to respond. However, do feel free to email me at the address below, using the subject 'blog visitor' so that I can find you in my spam folder. People who take the time to email will always get a response. Ask me anything about art: your studies, the 'art life', whatever.

Below: Sheet Metal Experiment, Vector Drawing, 2021.

Below: Sheet Metal Experiment, Vector Drawing, (detail ) 2021.

BREX-GLITCH

Looking at the glitched government website the other day, I couldn't help but think this was an omen of some sort.

Below: Government Portal Website with Coat-of-Arms 

Screenshot, Natural Glitch, No Filters

Below: Government Portal Website with Crown

Screenshot, Natural Glitch, No Filters

MOXY DOWNTOWN: ON THE UP

Very pleased that the super-funky designer hotel MOXY DOWNTOWN NYC - which features a series of my digital mosaic tiles in the lobby - has been nominated for the Condé Nast Reader's Choice Award. No doubt part of its amazing success is the contribution of interior designer Kim Edwards who infused the hotel with her playful, eclectic, and energetic sense of aesthetics. Well done, Kim!

Below: Datastream Arabesque #8 ( detail with texture )

About the Datastream Arabesques: Each composition is made of fragments of other compositions that were broken up, partially deleted and then recomposed. In other words, it was a digital version of smashing up a load of ceramics in order to create a mosaic from the fragments. The artwork evolved naturally into a series of Futuroid Arabic motifs, which I'm still experimenting with, but haven't released yet.

If you got here on a direct link, click HOME to see entire blog and other recent news.

UNTITLED WORK IN PROGRESS 28 / 11 / 2018 ( A )

EXPERIMENTING WITH TEXTURES

My painted work has always had a tactile quality to it, so much so that I regard it as a 'subtext' to the main composition. In other words, in each painting there are two pieces of art to read: The coloured shapes as seen from directly in front, and then the different gradients and grooves that you read from the side, or in a strong, angled source of light.

In the current series, I'm going to experiment with not only the depth, but the surface textures, like brickwork or peeling paint.

Below: Untitled acrylic-on-canvas ( extreme closeup ), with ruler to show scale. Full size: 80cm x 80cm.

UNTITLED WORK IN PROGRESS 28 / 11 / 2018 ( B )

This is actually a recycled canvas, that friends from the kids charity across the corridor gave me. It originally had graffiti spray paint on, which I then covered over with System 3 acrylic white. This has been on the back-burner because for some reason, I could barely get the masking tape to stick to it, no matter how much paint I piled onto it. Whether that was because the spray paint affected it, I have no idea. So it's been a bit of a battle with this one, and will remain the 'back-up' composition while the new series of paintings gets underway. 

Aside from that, it appears to be trying to evolve into something akin to my 'Mood Flag' paintings that I was doing years ago, and it'll be interesting to see if this progresses that style away from the original idea.

INKTOBERFEST I

Beginning a series of smaller, experimental artworks on watercolour postcards.

NEW PAINTING

As Yet Untitled, acrylic on canvas, 50cm x 50cm, June 2018.

( Photo taken at midday. )

Same painting, different angle ( photo taken at sunset. )

HIDDEN MESSAGES

Experimental Digital Composition, 01 / 02 / 2018

2017 ANNUAL REPORT / 3rd QUARTER REVIEW

[ For best viewing on your phones, click 'VIEW WEB VERSION' at the bottom of this page. ]

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JULY 2017: ELASTICITY, BOOK COVER ART [ based on a my 'Brazil Mood Flag' painting ] and the signing at the launch in London.

Full article here.

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AUG 2017: Beginning new series of PEN DRAWINGS in consultation with Kim Edwards, art director at Stonehouse Taylor, New York, for future 'designer hotel' project.

2017 ANNUAL REPORT / 2nd QUARTER REVIEW

APRIL 2017: SPLITTING INFINITIES [ THE ABSTRACTION OF MODERN TRAVEL ]

- Continuing my Abstract Life series of articles and pictorials -

Click here for the full article.

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MAY - JUNE 2017

CARBON BLACK: Acrylic on Canvas, 50cm x 50cm

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U.S. AIN'T: Further experiments with Digital / Vector Art

UNTITLED COMPOSITION 22 / 12 / 2017

Abstract / 2D Vector Drawing / + Texture

JAPANESE INTERIOR

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