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Michael Angelo Gomez – Exegesis CCA1103 – Creativity: Theory, Practice, and History 1 CCA1103 – Creativity: Theory, Practice, and History Fractal Imaging: A Mini Exegesis by Michael Angelo Gomez 10445917 CCA1103 – Creativity: Theory, Practice, and History Project Exegesis Christopher Mason 2 CCA1103 – Creativity: Theory, Practice, and History Table of Contents I. Introduction ......................................................................................................................... 4 II. Purpose and Application.................................................................................................... 4 III. Theoretical Context .......................................................................................................... 6 IV. The Creative Process ..................................................................................................... 10 V. Conclusion ....................................................................................................................... 18 VI. Appendices ..................................................................................................................... 19 VII. References .................................................................................................................... 21 3 CCA1103 – Creativity: Theory, Practice, and History I. Introduction Upon the completion of my proposed creative project, a number of insights have been unearthed in light of the perception of my work now that it has reached its final stage of presentation and display. This reflection will be expounded upon by way of critical analyses, contemporary applications, and the evaluation of the creative process. It shall also examine the pieces individually, elaborating on the design principles and ideas behind them. This creative project has culminated into seven images exhibiting the outcome of fractal imaging through the practice, creation, and manipulation of various creative methods and tools. The end result has been made accessible through the web with the use of Wordpress technology. As blogs have been incorporated to document the numerous phases of the project, all written entries have been made for public viewing and feedback at angelogomezblog.wordpress.com. A .pdf file entitled Fractal Imaging containing the finished images has also been made available for download on the blog post dated 1 November 2017. II. Purpose and Application On a personal level, I have endeavored to execute the practice of fractal imaging as I deemed it as a versatile method of exercising and honing my creative processes. It is effective in a number of aspects that are vital to my growth as an artist such as harnessing 4 CCA1103 – Creativity: Theory, Practice, and History appropriate rendering software, structuring developmental phases of the work, and elaborating on the concepts present in my artistic products. It allows me to further solidify my artistic identity as I have always possessed a penchant for abstract paintings and digital rendering. Aside from the manifold personal benefits gained from this project, I ultimately strived to introduce the untapped potential of fractal art to my audience by displaying it as a form of Abstract Expressionism in a contemporary setting. This project aspires to draw familiarity and appreciation towards an unconventional medium. I deemed it as unconventional as the Abstract Expressionist movement made use of traditional techniques with the paintbrush and physical canvasses in contrast to my purely digital approach. The Art Story Contributors (2017) note that these traditional methods exhibited by renowned painters such as Rothko and Pollock are characterized by the use of vibrant color paints textured by principles of angles, asymmetry, and shapes as a form of personal expression. I have attempted to employ these same principles for a series of end results that aim to elicit and evoke a number of varied subjective responses from the viewers. This means that during the pre-production phase, I did not concretely establish specific emotions to the pieces so as to leave it open-ended as an avenue to stimulate subjective interpretations. Specifically for this project, my intent is to bring awareness towards the beauty of mathematics and art intertwined. The application of creative software such as Apophysis 7X, Chaotica, and Adobe Photoshop have made this all possible. This beauty is further expounded upon from the knowledge that the manipulation of fractals are virtually 5 CCA1103 – Creativity: Theory, Practice, and History limitless similarly to how numbers achieve an infinity. It aims to inspire the creation of artistic works that encourages a boundless mindset. Be it a from an emotional or technical standpoint, I want my viewers to be able to appreciate the essence of abstract art as they abandon reality and rationality for a brief moment and appease to their imagination. In addition, key figures in the world of abstract art, namely Gottlieb, Newman, and Rothko, have collectedly said the following statement in a letter to the New York Times: To us, art is an adventure into an unknown world of the imagination, which is fancy-free and violently opposed to common sense (1943). III. Theoretical Context In order to further dissect the role of fractal imagery under the scope of sciences and its emergence into art, this section shall consider the principles of the Chaos Theory. Fractals display behaviors of unpredictability and complexity in natural systems ("What is Chaos Theory? – Fractal Foundation", 2017). As it deviates from the linear characteristics of traditional science, these unexpected behaviors display the transition from order to disorder. In order to harness and take advantage of this phenomenon, software such as Chaotica and Apophysis 7X generate and endless loop of fractal geometries dictated by parameters that can either be random or controlled. Creating an aptly named .chaos file in Chaotica shows an offering of randomly generated worlds that the user may manipulate. The user can opt to generate sets of worlds, shaders, and selectors in a limitless fashion to prepare on a digital canvas. The image 6 CCA1103 – Creativity: Theory, Practice, and History below illustrates the unexpected nature of fractals wherein randomly generated parameters have resulted in stills that each contain set of color palettes and properties: Chaotica’s world editor and palette editor serve as tools to approach the unpredictable nature of fractal in a systematic way. As the Chaos Theory is not centric on disorder alone but the transition into it (Complexity Labs, 2016), it is in the artist’s power to guides these computations to a desired outcome. 7 CCA1103 – Creativity: Theory, Practice, and History Abarim Publications describe Professor Edward Lorenz as the father of the Chaos Theory which was birthed in 1960 (2017). Unexpected transformations are highlighted by the observation that “A tiny difference in initial parameters will result in a completely different behavior of a complex system.” Visually, the accumulating complexity of repeated patterns undergoes a transformative process that clearly affects the overall composition: My artistic inspiration can be attributed to artists Sam Himes and Karuna who perform abstract art-making through software and traditional methods respectively. By observing their execution of abstract elements such as amorphous forms, color contrast, striations, and textures, I have been able to implement these characteristics in my own personal style. 8 CCA1103 – Creativity: Theory, Practice, and History “Dreamscape Series” by Karuna. Image source: https://www.artbykaruna.com/ “The Earth Fighting Oceans” by Same Himes. Image source: https://chaosfissure.deviantart.com/ 9 CCA1103 – Creativity: Theory, Practice, and History IV. The Creative Process This section shall delve into the technical aspects of the work while providing an analysis of the elements and principles of design that have been applied. As geometric patterns are versatile enough to be manipulated into different forms, I have narrowed my approach down to amorphous forms of color and texture rather than identifiable and repeated geometric shapes. Since the movement of Abstract Expressionism served as the basis for composing the images, I touched upon figures that contained “non-objective imagery, lacked a clear focal point, and [showed] visible signs of the artist’s working process” ("Abstract Expressionism, an introduction", 2017) in most cases. Due to Chaotica’s constraints to image resolution being at a maximum of roughly 500 by 850 pixels, I was forced to work around this limit and figure out a method of producing high-resolution fractals that were roughly five times larger than the imposed parameters. I deemed this as a necessity should I opt to reproduce these fractals in print in the future and to avoid low-quality pixelation for viewing on the web. Solving this problem required me to utilise other resources, namely Adobe Photoshop. By way of dividing the fractal image into 9 separate images at their highest resolution in Chaotica, I stitched them together in Adobe Photoshop to create a cohesive image that ranges from 3,500 to 5,000 pixels on the longest side. This method of combining nine rendered segments into a whole has been applied for all images in this project, taking a substantial amount of time to 10 CCA1103 – Creativity: Theory, Practice, and History perform but has produced favorable results. Note: Refer to Section VI. Appendices for the final images In retrospect,
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