I've given a lot of thought to Form: how are new ones constantly being generated? What sorts of decisions do artists and designers make when moving from one form to the next? Generally an artist's goal in playing around with forms is to arrive at a final composition. My goal here is the opposite. I want to start with a composition, and use it to arrive at new forms that will ultimately feed my practice.
To create the Random Motion series of animated projections, I, once again, confined myself to a specific series of properties or constraints—this time, in the form of scripted code that results in a random image generator. The forms themselves (circles, stripes, squares and the like) come from a digital lexicon of 100s of shapes and compositions I've built up over the years. Here, they perform a variety of rule-based instructions including position, scaling, rotation, opacity, and speed.
This suits my philosophy nicely because I don't ever waste form; rather, I use this project to create an endless image glossary for myself. The "offspring" of this new "generation" of 2-D compositions can be printed on paper or canvas or projected onto a wall. Of course, you can view Random Motion's compositions on a monitor, but better still, you should view them in a 3-D environment, interact with them. In this way, the gallery space becomes an open-ended interaction space—a site of the meeting of bodies and form.
If you would like to see additional work from my Random Motion series,
please visit my website at: pauliusnosokas.com/projects/random-motion/
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