Digital variations : Wall 205 is online

The complete gallery of 256 digital variations that compose wall 205 is online.

Here under are a few samples from this collection. The size of each of these variations is 60 x 90 cm and the complete wall is 9.6 x 14.4 meters. 

 Click on the images to get a larger size at 1200 x 800 px. 

The 4th batch of 256 paintings of wall 202 are online

Pushing the envelope to 19.2 x 28.8 meters ...  (continuum of 1024 digital paintings). 

This 4th batch represents the 4th quarter of the wall (D) and represents 256 paintings...  

The print size of each digital painting is 60 x 90 cm and the complete gallery of this 4th quarter of wall 2-02 is now online (Gallery D = 256 paintings).

Here under are a few samples from this collection of 256 digital paintings.

The 3rd batch of 256 paintings of wall 202 are online

Pushing the envelope to 19.2 x 28.8 meters ...  (continuum of 1024 digital paintings). 

The third batch represents the 3rd quarter of the wall and represents 256 paintings...  The print size of each digital painting is 60 x 90 cm.

The complete gallery of this second quarter of wall 2-02 is online (Gallery C = 256 paintings).

Here under are a few samples from this collection of 256 digital paintings.

The 2nd batch of 256 paintings of wall 202 are online

Pushing the envelope to 19.2 x 28.8 meters ...  (continuum of 1024 digital paintings). 

This second batch represents the second quarter of 256 paintings...  The print size of each digital painting is 60 x 90 cm.

The complete gallery of this second quarter of wall 2-02 is online (Gallery B = 256 paintings).

Here under are a few samples from this collection of 256 digital paintings.

The first 256 paintings of wall 202 are online

Since Beijing is still at a standstill, due to the coronavirus spreading from Wuhan, I initiated a new series of digital variations from painting 2-02 of the grand project.

Once terminated this new wall will total 1024 digital paintings that will be available as limited edition prints sized each at 60 x 90 cm.

The complete gallery of the first quarter (A = 256 paintings) of wall 2-02 is online.

Here under are a few samples from this collection of 256 digital paintings.

Wall 201 is online

I took the opportunity of Beijing's standstill, due to the coronavirus spreading from Wuhan, to terminate a new series of digital variations,

The complete gallery of wall 2-01 is online.

Here under are a few samples from this collection of 256 digital paintings.

Wall 105 is online

Wall 105. 9.6 x 14.4 meters.

The complete gallery, of all 256 digital variations of painting 1-05 from "the grand project"  is online.


Check some of these here under

Wall 104 is online

Oil painting 1-04. Size 60 x 90 cm.

The complete gallery, of all 256 digital variations of painting 1-04 from "the grand project"  is finally online.

Digital transformations wall 104. (02).

Some new transformations of original painting 1-04 from the Grand Project.

First 2 paintings from the 104 series

I started the digital transformations of painting 1-04 of the "grand project". This series will total 256 digital paintings and they are forming a continuum as you can see on Digital transformations 1 +  2. When this series is terminated the wall of 256 paintings will have a size of  9.6 x 14.4 meters. The original oil painting as well as the prints of each digital transformation have a size of 60 x 90 cm.

Click on images to blow up to your screen width.

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Organic Art Manifesto

I just published the first version of my "Organic Art Manifesto". Its present form is a customization in book form of my last 7 blog posts titled "Organic art  =  the patterns of life" . Later I'll further edit the text. In the meantime I would be grateful to anyone for any suggestions or critiques. Please use the comment section or the mail-form.

Click on image to read or download the PDF (free)

Digital variations of oil paintings

I had been playing with various fractal apps in the early 2000’s and marveled shortly at the wild gyrations on the screen. But I rapidly started to feel uneasy with the machine like perfect outcome of those works. Such a perfection in my eyes appeared to be devoid of life characteristics such as the flaws that litter the path taken by the process of constant transformations that life is all about. In the case of a visual sign such flaws of life can take different forms like an imperfection in a line indicating an accidental move of the author’s hand. I always felt that the absence of such signs of life deny human craft qualities to these works. And this is how I started to experiment diverse methods to digitally transform photographs of my paintings. In 2006 I terminated 12 digital variations of each of the 40 acrylics in my acrylics “artsense” series. This gave 480 digital variations that were edited as very short limited edition prints. These works can be viewed here.

I later summed up my feelings about what I see are the main differences between fractals and digital transformations in the following posts:

Art. From tribal to power societies.

In the present stage of our understanding tribal art roughly emerged around 40,000  years ago while Chinese Xieyi painting, Chinese Buddhism and Christianity only started around 500 AD.

Calligraphy originates sometimes before 200 BC. It was revered as a fine art in line with poetry and music while painting was merely viewed as a craft applied in the field of decoration, remembrance of ancestors, or illustration of daily life. Xieyi appeared later as an extension of calligraphy and this is when painting finally acceded to the status of a fine art in China.

What is striking, in the juxtaposition of images here under, is how visually similar Chinese Xieyi painting is to tribal art. Chinese Buddhism still has some common traits with tribal art but with Christianity we enter into a whole new world.

Why is Xieyi so similar to tribal art?
Why is Christian art depicting such a totally different world than tribal and Xieyi art?

From Modernity to After-Modernity (about chapter 5)

 Part 2. Theoretical considerations
Chapter 5. About the arts

Hello to my regular readers and to everybody else,


As of my post last Friday my writing this winter already generated 560 book pages.  I started working on the last chapter, this chapter 5, but will pass this week's publication because I was exhausted and needed some time to put my ideas together. This chapter should be the culmination of this winter's writing so I feel I need to get it right.

This is how I presently envisage the architecture of this text:

Can anyone actually define what a "True Artist" is? (2)

This is a follow-up on my last post here on Crucial Talk and completes the transcription of my posts on the thread "Can anyone actually define what a "True Artist" is?" on the LinkedIn forum

Can anyone actually define what a "True Artist" is?

(This is a re-publishing of the content of my postings in a discussion started by Ron Croci on Linkedin under the same title as here above.)

The term "artist" in visual art has been in use for only a relatively short time. Before the Renaissance the "picture makers" were considered being craftsmen of very low social standing put in charge of illustrating the story of the Christian creed.

Question: Can We Design The Next-Evolution of Community?

Nova Spivek had an interesting post on Twine:(a smarter way to keep up with what you’re into) that I could not resist commenting on.

Nova Spivek diagnoses:
- Loneliness, social isolation, and social fragmentation are huge and growing problems
- Our present communities are not working and most are breaking down or stagnating.

What now in painting? Part 2: The visual form of meaning.

Summary of Part 1:
= Art as an illustration of the worldview of the men of knowledge of the day:
........... but who are the men of knowledge in late modernity?
........... artists have to build up their own knowledge base
= Knowledge as the outcome of:
........... an accumulation of knowings by scientists.
........... a philosophic vision of the human atom as particle of an unattainable whole.

What now in painting? Part 1: The meaning of what to represent.

The central thesis that runs through my rumblings about visual arts is that they are no more than the visual representation by artists, of the worldview of the men of knowledge of their days, for all to share. Under Animism they represent the worldview of the shaman, under Religious times they represent the creed professed by the priests and under Modernity they represent as many signs of the value system of the triumphing aristocracy and new rich merchants.

My last 4 paintings

I write much about the meaning and societal sense of visual arts but how does my painting relate to my writings? Take a peak at my last 4 paintings they foreshadow the content of my next post.

Acrylic on canvas. Size: 24" x 30" (61 x 76.5 cm)

Acrylic on canvas. Size: 20" x 24" (50.5 x 61 cm)

Acrylic on paper glued on hard wooden panel. Size: 17" x 22" (43 x 56 cm)

Acrylic on canvas. Size: 36" x 24" (92 x 61 cm)