eLustre Digital Art Works
My name is Gregory and I’m an artist and designer based in Chester, UK
This work is based on a certain conception of how art works may be used. I believe the concept to be innovative. It is not fixed as one object. Rather, it is mobile, and may be realised as a picture on the wall, a series of pictures, or as a wall sized installation; retaining its essence and spirit. A unified aesthetic point is made across one piece or several. The pieces are realised in physical form as gallery quality framed giclee prints, or as installations printed on glass. The glass work produces an effect quite remarkable; somehow becoming a new material, far beyond simply being ‘printed on a substrate’.
The work as Art is focused on a direct experience, conveying energy, atmosphere and mood. It is less concerned with intellectual ideas. Ideas there are in plenty; we can talk about them at leisure. The purpose, and my interest and concern, is to convey a sense which is felt. And this covers a vast range, from strong and striking to sweetly atmospheric. From a solidly realised jewel-like shimmer to the evanescent suggestion of a scent.
It is created by a combination of freshly hand drawn gestures and material drawn from a stock of resources already created; a sort of digital paint pot of pixels, which is mixed, stirred and stimulated. I do not use photographs, nor is it collage or decoupage, worthy though all these methods are. It is closest to a species of oil painting, in its suppleness and range of expression, and indeed in the sense of using a raw material to create something intrinsically unique. The difference here is the variety and range of manipulation and application. One is working with chunks of matter and energy, which are melted and smeared most liberally. Let us consider the individual pixels, each tiny quantum of energy manifesting as a vibration, a frequency of light. They combine and congeal and are swept asunder by the artist’s intention, the interaction with many objectives, across a myriad multitude, and behold we see what appears to be a solid object or a sweeping cloud. Tiny fractions of vibration, living in a computer, which can then be manifested as a solid sheet a metre across. A vision into which we may enter. Much is made of virtual reality. We may there enter into a different world, but here (and without a headset) we may enter into a slice of vision embodied in our physical world.
Is this not magic?
Every picture exercises this magic in the elaborate co-creation of visual art, but here I feel is a method which brings something new, beyond the classical media. Certainly I found myself transported, when beginning to explore the medium, by the wonder and splendour of what I was seeing, beyond anything I had ever seen in paint. This is a long path of development, a quest.
It is a technique infinitely gymnastic, capable of the most subtle modulation or of burying the pedal thoroughly to the metal in the next move. There is an underlying sense of what good practice, even virtuosity would be in this new medium, even though it is a novel set of procedures.
It is not an analogue of anything else. It is itself. It is absolutely not the usual way people seem to use these digital tools. It is not ‘computer art’ in the sense that is usually understood. There is not an algorithm to be found, and as for AI, I’m still trying to work out human intelligence. I use only a few simple and basic tools in the program. There are a million copies of Photoshop out there, but of course how many paint bushes are there? Much depends on the hand which wields them.
Sometimes the spirit of a piece sings out clearly from the initial spark, asking simply to be born. Sometimes that first heady scent of joy and beauty veers off unaccountably into the long grasses, and then one must vehemently wrestle. There is always the sense of something trying to become. As well as the sense of energy, or space, or depth, there is always a sense of style; that it will interact with other objects in the world; in the room, the furniture, the lighting. The guiding principles are of balance and an intrinsic feeling of rightness.
Forgive my not entertaining you with a colourful life history, full of exotic locations, romantic obsessions and emotional upheavals, as so many modern artists do. A venture capitalist turned paragliding instructor in the Andes…well, not yet at least. The work itself is more important, and should speak.
This website offers a powerful means for the work to breathe its natural air, in responding to a brief or commission. I am very happy to engage professionally with the most technical brief, or to sensitively intuit a direction from the suggestions of your dream.
Thank you very much.