Tony Robbins (USA)
Tony Robbin has worked in painting, sculpture, light, architecture, and computer art.
His first exhibition in New York was at the Whitney Museum, a first floor solo exhibit in 1974: these paintings combined an optical mix of color, through the use of a modified spray gun, with a complexity of multiple, superimposed spaces, created by spraying through patterned stencils.
He was a founder of Pattern Painting, showing widely in the United States and Europe with this school, and committed, as were his colleagues, to the lyric fusion of color and the intellectual understanding of the symmetries of pattern, as in the vast tradition of Oriental arts. 79-8, 70" x 120", Coll: the artist
It was at this time that Robbin discovered the possibility of seeing four dimensional geometry on computers - really seeing it, using four dimensional geometry as the organizing principle of spatial complexity in art, and as a result discovering several formal innovations that took his work through the 1980's. He became a programer (the only way to get such a capability at the time) making some of the most sophisticated programs for visualizing 4d, and becoming known in both the mathematics and computer art communities. 1980-2 56" x 70", private collection
At the same time, he discovered that by using two dimensional elements, painted lines, and three dimensional elements, welded steel rods, the visual information of the fourth dimension could be presented to the viewer in an artwork.
Later in his light pieces, the two dimensional elements became the colored cast shadows of the three dimensional elements: where blue and red light shines together there is white, but in the shadow of the red light, strong blue light is there (two thirds of what is on the wall is only light.) This work was shown in New York mainly at the Tibor de Nagy Gallery.
Robbin's closeness to the mathematics community led him to Quasicrystal geometry, a derivative of four dimensional geometry with truly remarkable visual properties. He decided that architecture was the preferred art form for this new idea. He holds the patent on the application of Quasicrystal geometry to architecture,
and has lectured and written so widely on the idea that it is now studied in architecture schools, primarily in Europe. To date, Robbin has made one permanent structure,
a very large architectural sculpture in Denmark, completed in 1994.
Since the Denmark project, he has worked exclusively on painting - paint on canvas. Even after all the formal adventures he has been through,
Robbin is convinced that this is the most powerful of media, and now has a body of these new paintings
1996-8, 56" x 70", private collectionAfter a visit to Scott Carter at the Mathematics Department of The University of Southern Alabama in Mobile in 2000, Robbin began to think more about his paintings as four dimensional knot diagrams:the flowing sheets are really hyperplanes that have not only thickness but an internal structure as well. The hyperplanes braid in ways that are impossible in three dimensions but are the natural consequences of projecting higher-dimensional structures into lower dimensional spaces.
Ursula Freer (Poland/USA)
After spending my childhood and adolescence in Poland and Germany I came to the
USA as a refugee after World War II. I had painted professionally in traditional media for
twenty years before adopting the digital medium as the primary tool seven years ago.
Marist College, Poughkeepsie, NY: with studies in Art History, Theater and Psychology
Dutchess Community College, Poughkeepsie, NY: Advanced Painting and Philosophy
Coast Community College, Newport Beach, CA: Oriental Art and Watercolor Painting.
Artist: Viktor Koen (USA)
Title: Vanitas No.09
Title: Viktor Koen Vanitas No.24
1990 BFA in Graphic Design, Bezalel Academy of Arts & Design in Jerusalem
1992 MFA of Illustration, with honors, School of Visual Arts, New York City
1995 - present Faculty of the Illustration department, Parsons School of Design, New York
1999 - present Masters Thesis Advisor, School of Visual Arts, New York
Regularly published in The New York Times Book Review, Money, Forbes, Esquire, National Geographic and Readers Digest. Clients include: Atlantic Records, Roadrunner Records, Delta Airlines, IBM, Penguin Putnam, Random House, Doubleday Books, Simon & Schuster, Harper Collins, Time, Mans Journal, Bloomberg Personal, Fortune, Smart Money, Business Week, Wall Street Journal, The Boston Globe, Chicago Tribune.
Artist: VINCENT PUCCIARELLI (USA)
Although I am trained classically and bring painterly skills to my work, creating digital images is part of my lifes work. Each stage of life brings new opportunities to know ourselves at a deeper level: Who we are as individuals, who we are in our work, who we are in relationship to others and to the world. The digital work that is presented here is part of that process.
I make digital biomorphic abstraction without using photography as a source. I use the basic elements of the technology to create digital paintings. I exhibit prints of my digital images for which I use the computer in a painterly way. I use light, color and distortion effects as the building blocks of my image in the same way that someone might begin with pigment, glazes and brush stokes in traditional painting. I want to humanize the technology by making the images aesthetically pleasing. My goal is for the viewer to have an immediate visceral reaction.