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Reflective Symmetry: Inside WiW's 'esse'





 

In this conversation, WiW delves into their upcoming generative art project 'esse' with Pixel Symphony, exploring the blend of typography and palindromes. They discuss the project's foundational concepts, the integration of visual and textual elements, and the influence of randomness on the creative process. Additionally, the role of user interaction and the aesthetic decisions regarding color, form, and motion are examined, shedding light on how these aspects shape the project's ambiance.


Starting off, could you share a bit about the journey and the moments that were pivotal in shaping the direction of your work? And what is the conceptual foundation of your proposed generative art project?




The project is a study that involves typographic elements and palindromes. My creative process with Hydra is somewhat chaotic, in a way that I learn and define what it is as I build it, a construction that takes advantage of this dynamic relationship between human and machine. In this way, this work began with a simple technical experimentation involving text+hydra, and gradually, as the results emerged, I began to see new concepts and possibilities for experimentation. This process is not yet finished, but I am in the phase of finalizing the experiments.




The general idea is to experiment with the relationship of characters/typography with our perceptions. Whenever we look at an object, most of the time, we have a name for it. This is also true for feelings, people, things, and even abstract sensations. Language is our way of interpreting reality. The project proposes the combination of characters and symbols in a symmetrical way with palindromes, to cause the viewer a desire to decipher what is being observed, thus forming a composition of animated visual poetry. In addition, I combine the use of various textures to make this observation experience even more abstract and hypnotic.




This work, like my last ones, plays with the idea that the meaning of the work is directly linked to the viewer's observation.




Moving on from the technical side of things, you've mentioned the project's aim to play with our perceptions through characters and typography. It's intriguing how you describe language as our way of interpreting reality. How do you see your work challenging conventional interpretations of poetry and offering new perspectives through this blend of visual and textual elements?


I believe the work explores the scope of visual poetry, adding this layer of interpretation completely dependent on the viewer. In addition, the algorithm that generates "palindromic" words combined with the textures of Hydra provide a unique, intense, and interactive visual experience.







The element of randomness and controlled chaos you've described adds a fascinating layer to your artistic process. Considering how this contrasts with the structured nature of traditional poetry, could you dive deeper into how you orchestrate this randomness? How does it influence the birth of new aesthetics within your work?




Randomization is undoubtedly the concept that led me to enter generative art a few years ago. The possibility of creating a context and applying randomization to it gives the artist an experience very close to the relationship with the machine. It's like being the conductor of an orchestra - we lead the agents in a direction, but the final result is never exactly the same, it's altered by N factors that are definitely out of the conductor's control.




These N factors, brought to the computer, elevate our possibilities to infinity, and I think that's where the beauty lies. Many times, I, as an artist, cannot fully describe the visual result I have reached - precisely because part of this process lies in the visual responses that the algorithm provides me. It's an exchange relationship; my works are a co-authorship with the computer. And with that, I feel that my relationship with the computer becomes increasingly closer, an extension of my existence that I do not have total control over.




And for me, this kind of work can only be developed with a generative creative process. I think this is where the break with traditional poetry occurs.






Given that your art involves a degree of user interaction, I'm curious about how you envision viewers engaging with and influencing the visual poetry in real time. Could you share more about the kind of dialogue you hope to create between the artwork and its audience?



The work itself tries to create this dialogue between what is being displayed and the viewer's perception. The layer of interaction I implemented allows this contemplation experience to generate other abstract meanings. It is the first time I have applied an active interaction concept in a long-form work. The experimentation in this project brought me some inspirations for future projects - enhancing this interaction with the public.




The interplay of color, form, and motion in your work adds a whole new dimension to the poetic narrative. What drove you to select this particular aesthetic palette, and how does it amplify the poetic atmosphere you're aiming to create?




I believe that in addition to the generated palindromic words, the colors and animated textures of Hydra lead the atmosphere of the work to a kind of "retro-future." My first experiences with computer art were probably the screensavers of Windows 98. There was a somewhat hypnotic experience in watching those animations building on our monitors, and I remember spending hours on those visualizations. I believe that my work is inspired by those visualizations from my childhood.







Can you elaborate on any specific symbols or elements within your project and the intended meanings and/or emotions they convey in the context of visual poetry?


It's difficult to elaborate on specific elements because I am using a random process for the generation of these "words." However, the palindrome is perhaps the central element that governs the entire work. I have always been fascinated by this phenomenon of language, and it is no coincidence that I use WiW as a pseudonym. I believe that the symmetry that palindromes bring us, combined with combinations of characters generated by algorithms, form a symmetrical visual idea with an asymmetrical meaning. I believe that observing these visuals leads the viewer to a unique and atypical reflection, in search of a meaning that ultimately does not exist.




You've hinted at the idea that your work encourages viewers to seek their own meanings in the visuals presented. How important is this narrative flexibility to you, and how do you think it enhances the viewer's experience of the work?


The work provokes the viewer to seek meaning for the experience they are consuming. When we think of the word "pen," there is a material idea of what a pen is. We know the feeling of being happy and being sad. All these words have this material and cultural background. By displaying this palindromic "word," I am encouraging the viewer to unconsciously seek meaning. Thus, the experience of viewing and understanding the work becomes something very personal.







Lastly, it's clear that technology and coding skills are crucial to your generative art. Do you feel that your current abilities in coding limit or challenge your artistic expression? How do you navigate the balance between technical limitations and creative ambitions in your work?




Undoubtedly, there are several gaps in my coding level. As a generative artist, I try to use these skills to the maximum and always use my lack of skills as an element for the construction of the work. Since my process takes into account what the computer shows me, the imperfections that my codes may have also become important elements for the process of making my works.



This was a conversation between WiW and Pixel Symphony.


 

Release information:

'esse' on FXHash | WiW x Atelier

April, 2024


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