Closed On sale for a limited time due to the exhibition in Taiwan, https://tmofa.tycg.gov.tw/en/exhibitions/current-exhibitions/136
Pure Generative Art drawn in C++ and OpenGL. This is one of the early works of the current creative coding movement, created in 2013.
Goh is looking for art collectors who are aware of the historical value of Generative Art.
Generative Prints is a series of art works by Goh in which images generated by uniquely developed computer algorithms for each work are printed with archival inks on the most suitable materials.
This bundle includes seven main works in 2013, plus five drawings, for a total of 12 prints. It is limited to 50 sets.
Goh concentrated on Generative Art works in 2013 as an exploration of the aesthetics that come from coding, which are shaped by the dynamics of the vast number of particles in the computer’s force field, and which cannot be drawn by human hands.
*The price is currently for early adopters. We will raise the price without prior notice depending on the number of works remaining.
Finishing Options
This work is available in two options: framed or unframed (archival box).
Standard Framing
All works will be framed.
This option uses a standard framing method that a white mat and a wooden or aluminum frame.
The frame is made with an acrylic panel that blocks 97% of UV rays, one of the main causes of fading. The print is backed to enhance its flatness.
| Works | Material | Color |
|---|---|---|
| Atoms – φ , Atoms – S | Aluminum frame, Edge width 6mm | Black |
| Fluid flower | Aluminum frame, Edge width 6mm | White |
| Massive Flow | Aluminum frame, Edge width 6mm | Black |
| Ghost River | Aluminum frame, Edge width 6mm | Silver |
| Atoms – O, dark | Aluminum frame, Edge width 6mm | Black |
| Atoms – O, light | Aluminum frame, Edge width 6mm | Silver |
| Atoms – drawing, no.1,2,3,4,5 | Wood frame, Edge width 13mm | Milky white wood |
Archival Box
This option is for collectors who want to preserve an artwork for a long time in a stable manner.
The print is housed in an acid-free and lignin-free archival box. (The box has passed The Photographic Activity Test (PAT), an archival standard ISO Standard 18916.)
Generative Prints 2013 / Limited Edition 50
7 Prints
Atoms – φ , Atoms – S
This work is generated by a multidimensional particle physics program and is part of a series called *Atoms*, in which visualizing are made using only simple point clouds.
This work is printed on highest gloss paper or white film, which is flatter than general photo paper.
| Limited Edition | 50 |
| Size | Image 40.3 x 297 cm, Paper 48.3 x 32.9 cm |
| Materials | Pigment ink on highest-gloss sheet for archiving |
Fluid flower
In this work, point clouds move back and forth between dimensions such as points, lines, and surfaces while repeatedly aggregating and discretizing, generating unique and complex shapes with the trajectory of their motion.
This work is printed on semi-glossy paper with fine irregularities.
| Limited Edition | 50 |
| Size | Image 40.3 x 29.7 cm, Paper 48.3 x 32.9 cm |
| Materials | Pigment ink on semi-gloss paper for archiving |
Massive Flow
The work visualizes the dynamics of flow, with a vast point cloud reflecting the fluctuations of equilibrium and collapse brought about by the lower structure of the system.
This work is printed on semi-glossy paper with fine irregularities.
| Limited Edition | 50 |
| Size | Image 42 x 28.6 cm, Paper 48.3 x 32.9 cm |
| Materials | Pigment ink on semi-gloss paper for archiving |
Ghost River
This work is printed on full glossy paper.
| Limited Edition | 50 |
| Size | Image 42 x 28.6 cm, Paper 48.3 x 32.9 cm |
| Materials | Pigment ink on high-gloss paper for archiving |
Atoms – O , Atoms – O
This is a work from Atoms, a series of visualizations using only a simple point cloud.
This work is generated using the same algorithm as Atoms – φ, S above, but with different parameters.
This work is printed on semi-glossy paper with fine irregularities to enhance the graininess.
| Limited Edition | 50 |
| Size | Image 32 x 32 cm, Paper 48.3 x 32.9 cm |
| Materials | Pigment ink on high-gloss white paper for archiving |
5 Drawings
Atoms – drawing, no.1,2,3,4,5
These small drawings are generated using the same algorithm as the 2013 series of works *Atoms*.
They are printed on 100% cotton acid-free fine art paper with a matte surface and fine texture.
| Original Created | 2017 |
| Limited Edition | 100 |
| Size | Image 14.2 x 14.2 cm, Paper 21 x 29.7 cm |
| Materials | Pigment ink on fine art paper for archiving |
The print size is A4 (210x297mm).
*The color of the work displayed on your monitor may differ slightly from the actual work.
*To prevent plagiarism, the images of works on this page are low-resolution.
Generative Prints
Generative Prints is one of the work formats that Goh has been developing since 2013, based on the idea that “digital prints are not a low-grade substitute for classical printing methods, but an independent expressive method.
Digital printing, such as inkjet, is a very precise dot manipulation method made possible by modern technology, and is one of the best interfaces for outputting the world inside a computer.
Taking advantage of this characteristic, he has developed his own computer programs to create new expressions optimized for digital printing, creating works that cannot be realized by human hands. For example, he has created works that capture the moment when a swarm of billions of dots forms or collapses through physical simulation, or visualizes the logical space that is connected to and collaborates with non-human intelligence.
These 2013 works were created using only C++ and Open GL programming, without Photoshop, 3DCG, or other creative software, in order to pursue a coding aesthetic.
Background
This series was created in 2013 and each work was sold individually for a period of time. The works were purchased individually as customers selected one piece they liked or one piece that would fit in their room.
That was fine at the time, but over time the meaning of the works has changed. In recent years, digital media expression has gradually begun to be reevaluated, and a historical examination of the techniques and one of the categories, Generative Art, has become necessary. In light of this, I wanted to leave these works in a verifiable state.
In order to verify the expression of works, it is essential to check the actual works, the positioning and necessity of the method and style in the artist’s activities, and a consideration of the historical background.
Generally it is difficult to derive these factors from a single work, and multiple works are required. In order to examine them honestly, it is desirable to have as many works as possible, especially if they are part of a series that focuses on a particular technique or medium.
Simply put, you will see different things if you look at a single work than if you look at a series of works together.
Reevaluation takes time, and the works must remain
Art discourse and movements that are not based on the actual works are weak, inaccurate, and meaningless, assuming that the actual works can be in any medium (including digital). I believe that the current “revaluation” is a case in point.
Although Generative Art has been around for a long time, it is necessary to distinguish between eras. The number of contemporary works has increased, and unlike up until the 2000s, the information on computational expressions is not collected by academic societies, nor is it treated by art institutions, so the actual situation is not fully understood. The current “revaluation” is only a partial and arbitrary focus on a particular community or linguistic area.
As an example of the buried reality, I describe my own experience: in 2013, both computer-based digital techniques and inkjet printing were still looked down upon as art expression. Also, my attempt to establish a method called Generative Prints to solve the problem of expressive output capability of computer space, which was insufficient for LCD monitors and projectors at that time, and to connect it with Generative Art, was not understood at all. Digital art was looked down upon as contemporary art, and as Media Art, painting, printing, and making art for sale was seen as old-fashioned. I remember well how badly I was treated by curators, galleries, and other art professionals.
And when they changed their attitude 180 degrees without any remorse with the recent digital art craze, especially the NFT art bubble, it woke me up in many ways.
Those experiences have led me to the conclusion that the existing art professionals are not worth trusting, and that I should trust only the actual works and concentrate on getting them to the people who need them.
The reason why I decided to sell a certain amount of the works in this series as a bundle was because I wanted people who understand the historical value of the works to have the actual works.
(I say “a certain amount” because some of the works are no longer possible to produce today due to the fact that the materials used in their production have already been discontinued or data has been lost.
The idea is that if I can’t have everything, I should focus on the major works and organize them in a way that makes them easy to purchase. I think that works are fragile things, because this is what happens even if the artist himself has been managing them carefully for only 10 years.
Details
Below are reference images of framing.
Numerous versions with slightly different color tones were printed and verified, leading to a finished piece.
Although this is visual of a complex form, it is not a layered composite of several different materials, but the result of a single shot of a single simulator’s computational process.
As the enlarged image shows, a large number of particles are involved with each other to compose the morphology. (Perhaps it would be impossible to try to recreate it again now.
Atoms – Φ, S show slight roller marks when approaching the film with the naked eye, although they are not noticeable in normal exhibition. Please note that this is a technically unavoidable problem.
Buy artworks directly from the artist
In this shop, the artist sells his artworks directly. Do you know the advantages of direct sales?
1. you can encounter works that give you a better sense of the artist’s originality and individuality.
Direct sales allow an artist to offer their new and experimental works most freely and quickly.
When intermediaries such as sales agents or sales opportunities such as exhibitions are used, an artist is required to provide works that have a high chance of selling. This is because the costs of intermediaries and exhibitions are high, and more profit is required. However, a “work that has a high chance of selling” means a work that is suitable for the general taste (when the buyer is unspecified), not a work that is new or superior in its expression.
Direct sales, in which works can be freely offered even before many people have found value in them, are an opportunity for the enjoyment of encountering works and the purity of expectations for the future.
This is my theory based on personal experience, which is not often pointed out, but I think it is the most important advantage of direct sales.
2. The works can be purchased at an affordable price.
By not going through a sales agent, there is no intermediary margin, and the works can be offered at the most affordable price.
3. You can directly support the artist’s activities.
Purchasing artwork is the most important support an artist can receive in their creative process. This is because, compared to other forms of support such as grants, it contributes directly and sustainably to the continuation and development of the creative process, as it allows the artist to integrate the practical cycle from production to release of the work into their life, and the funds obtained are free.
In the case of direct sales, in particular, the artist who has limited funds and time to spare can benefit greatly from the low transaction fees and quick payment. This allows the artist to explore new forms of expression in a quicker cycle.
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