11/11/2022 0 Comments Vdmx pen tool![]() ![]() Kandinsky’s assertion that the line is the product of force, velocity, gesture is an approach appropriated by Parks’ work with hardware and software in creating and performing digital music. Kandinsky’s theories, published one-hundred years ago, may now be discounted for their heavy-handed spiritualism, yet they resonate with Parks for a different reason. ![]() Gesture-modulated video-feedback painting, archival inkjet print. Tyson Parks, "Taxonomy Of Strokes On Black," 2011. Kandinsky’s interest on the other hand, lay in developing visual abstractions analogous to, and in conversation with, the structure, form, and style of music composition. With visual music, lines, colors and shapes correspond with music, appearing to move and react to sound like perfectly choreographed dancers. This approach is different from “ visual music,” an artistic tradition practiced by Norman McLaren, Oscar Fischinger, and Len Lye, whereby music is visually interpreted and (often quite literally) represented in film and video works. For Kandinsky, visual elements are likened to musical elements of orchestration. The point takes on the character of a single sound, and quantitatively, this creates a composition pictorially and audibly. For Kandinsky, “the point is temporally the briefest form,” a complex and sharply-defined unit. Parks’s practice, he says, continues from Wassily Kandinsky’s formal theories relating abstract painting to music. ![]() In one sense, these paintings embody a nod to formal conditions, and in another sense, there is an obvious aversion to traditional material conditions, while still referring to the history of painting. There is no easy congruence of form and content in art, and I doubt that the Montréal-based artist’s paintings are an attempt to achieve that congruence completely. Parks overturns tradition with his technological approach to painting-embracing VDMX over oils, appropriated photo images of readymades over still-lifes, and computer screens over canvasses. He re-imagines the brush, the paint, the canvas. Parks makes his paintings using a combination of computer hardware and software that he’s designed, a setup he has appropriated from his practice as an electronic music producer, computer programmer, and video artist. But at the same time, Parks’s paintings are a new conceptualization across mediums. He purposefully maintains the tension, too, by restraining from trying to make the digital trace appear like real, physical paint. Images of readymades provide the tip of the paintbrush, and its stroke is the paint that traces across the canvas. The first really noticeable thing about new media artist Tyson Parks’s digital paintings is their fostering of tension between organic and synthetic elements. Exhibition view, Red Bird Gallery, Montréal. ![]()
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