Galleria Nazionale D'arte Moderna Rome: Alfredo Pirri-Shay Frisch.

                            Galleria Nazionale D'Arte Moderna www.gnam.beniculturali.it/

While visiting Rome I decided to go and see the Galleria Nazionale D'Arte Moderna I was very surprised by the variety and high quality of contemporary art I saw on show in this gem of a Museum.

First of all if you are a tourist visiting the museum I strongly advise you to take n.3 or n.19 tram which stops in front of the museum as it's not a 15 minute walk to the museum from Piazza del Popolo as some people say when it's dark I wouldn't advise tourists to walk through the park Villa Borghese late in the afternoon in winter, especially if you are going on your own, it's much better in full delight where there other people around in the summer. Also I have read on some websites that the National Gallery of Modern Art doesn't have a cafe', this is actually incorrect. The cafe' is not inside the museum but you have to go out outside and walk to the back of the museum where it is located, beautiful in the summer but not to sure in the winter I guess it's ok.

While entering the building pass security I was transported straight away into a different space. I kind of left the present space I was in and the traffic of Rome and went into an altered space thanks to the work of the Italian artist Alfredo Pirri (born 1957 lives and works in Rome) and his artwork titled Passi (Steps) I literally stepped into the art work as it is made of wide broken glass and I was braking it even further by walking on it so that I could reach on foot the main exhibition area, I was basically forced to do it as there was no other way to reach the exhibition area.                                                

  

Alfredo Pirri, Passi.

I thought this was great fun,  to be able as a visitor to participate in the art work and be able to change the structure of the artwork by walking on it so by breaking even further the glass I was walking on, permanently changing the image of the art work and the vision of it, the image and the memory of it, so that really there is never a final image as the artwork gets constantly cracked by visitors.
As a viewer I didn't see any separation from myself and the art work I did not feel separated as one might look at an image from a still point of view at a distance I also felt unsure walking on it at how much further I was breaking the image and the artwork but excited that with my movement I was producing a further alteration to the art work. The breaking of the glass made met think also at the fragility of life itself and at how things both in real life and in art are constantly changing.
When I reached the main exhibition area I turned and looked back at the art work  & felt like I had just been through some sort of mental portal, this was given by the artist counterpointing the stylish shiny squares of broken glass with stylised white statues, white walls & columns. Because of this I felt like had been enveloped in an ever changing defined altered space. He basically made the best of the space that was already there and the artwork worked really well in this wide important space and it wasn't finished there...

I was initially supposed to see the Paul Klee exhibition but the permanent collection on the ground floor and other floors was so good that I lost track of time so I kept wondering around from room to room and then by mistake I ended up viewing first Shay Frisch's work on the second floor before Paul Klee's work.

                                                   Shay Frisch Peri, Campo 100535 B/N

Shay Frisch Peri is an Israeli artist &  Industrial designer that works and lives in Rome.

He works with light & space. The first work I saw  geometrical in form enclosed in a geometrical white tower inside it was black with an orange bright light going through the work and for me far to claustrophobic but the strong geometrical form and black (darkness) and white (light) both of the outside and on on the inside made me think of a modern version of a church or a chapel so of a spiritual aspect of the art work. I moved quickly to the second room which felt more opened and I was faced by squares of light white adaptors. In this room the art works where made out of the same materials as in the first room. The work it's self is made of endlessly repeated electrical adaptors (the light is shown as volumetric thanks to the actual structure of the adaptors) like some form of light sculpture made out of geometrical forms squared or circles or completely white or completely black with bright orange light beaming from the art work in a linear way which made me think of a minimalist and a precise  controlled way of arranging the work. The light adaptors united together create a new reality, a different way of painting that takes into account architecture, light and space. I found the modern monochrome use of colours (light adaptors) and the juxtaposition of dark and light, spiritual like looking at the Rothko's paintings when I went to the Tate Modern, it was peaceful. The artist didn't force me to participate but to be an observer and to take whatever I wanted to take from the experience. I did wonder thought at how much did it cost to keep the beaming  light on all the time and would the artwork still function if it was made with out the light beaming through it? The answer is no it wouldn't work as the light added volume and changed the meaning of the whole artwork itself. Without the light  it would be like looking at an empty white or black surface even if it was made with adaptors which in itself gave depth to the work.

                                                    Shay Frisch Peri Campo 100535 B/N

                                                    Shay Frisch Peri Campo 10035 B/N

Whitechapel Gallery: Maurizio Cattelan

My tutor at University suggested that it would be good for me to view an artist whose work is very different from mine so I decided to go and see the last day of Maurizio Catellan's exhibition at the Whitechapel Gallery. As I entered the gallery I noticed straight away that there was more of an Italian crowd then a British crowd going around the gallery.

 Maurizio Cattelan Il Bel Paese 1995

The first art work I saw was the 'Bel Paese' piece which was composed of a green rug showing the Bel Paese Italy as in the cheese with the same name by Galbani. The opposition of the word Bel Paese=Beautiful Country & the image of Italy on the rug gave clearly out that there is hypocrisy behind the image of the Bel Paese. The funny thing is  that the supposedly 'Beautiful Country' Bel Paese shown as a rug where one can clean one shoes but is not allowed to do so as the rug was cordoned of which made me laugh: a rug which one can not use.. meaning that the rug is still a work of art worth money and worth of cordoning off. I am not sure if this is a mistake of the curator or if the artist intentionally asked for his work to be cordoned off because if this is the case he is actually giving less meaning to the work. By having it cordoned off he is actually showing his work more as a property with value then anything else which weakens the content of the work or creates a distance with the viewer. As  a viewer I was allowed to look at the piece but I felt kept in my place by the way it was displayed as I or indeed other viewers couldn't clean our shoes on the rug if we wanted to. Yes they have put a Roman hand hanging from the sealing above showing the middle finger at the rug but I felt it was better if one could actually clean one shoes on the rug as I think originally intended.

While the piece Lullaby made out of rubble in a large sack, one could touch this piece as I saw a blind man doing so, but would someone who is not Italian know that they are the remains of the PAC in Via Palestro in 1993 where 6 people died due to a bomb by the Mafia? Hiding the rubble in a sack made me think of the hiding of a trauma, feeling uncomfortable with Italy's troubled past.
There are common elements in his work one for example is Maurizio Cattelan's troubled relationship with some of Italy's dark episodes but also showing them to people who might not know about those episodes highlighting injustice and hypocrisy in the system and  in society or in art. The other work I soon noticed called Bidibidobididiboo made out of a red squirrel slumped on a small table with a gun on the floor all in miniature gave me the impression because of the small size of the piece that I was intruding into a story: that of  the artist as a young man stuck in boring daily routine this was given out by the sink and table, I felt that the artist hates ordinary life and has a need to shock to feel alive if not he is like a trapped defenceless red squirrel in an environment which doesn't belong to him kitchen, sink, table are not really a squirrel environment but ordinary symbols of a common life...To me the red squirrel being an outdoor animal represents the wilderness of the artist that wants to get out but gets killed by domesticity hence the squirrel shot in a home environment. Looking at his work it looks not only funny thanks to  the just apposition of opposite elements but well thought out as everything is well positioned, staged and that he likes to get a reaction from the viewer. I mean he used a real cute red squirrel not an ugly wounded  or maybe a fake one which made the viewer (myself in this case) feel sympathy for the cute squirrel/the artist so for the whole piece. 

 I did wonder where the squirrel got sourced from and why did the gallery or the artist didn't care to mention this? Did he found him already dead or was the squirrel killed to appear especially in the exhibition? Just because he is a squirrel and not a human does it mean an artist can do what they like with it? If it was a human someone would make a claim for the body don't animals have any rights because they don't have a voice? I felt this was the strongest piece in the gallery anyhow.

The other piece with absurd upside down elements was the one with artist himself as a still puppet hanging from a metallic hanger closet wearing no shoes which is an out of place image so the intrinsic absurdity if it and the funny element in it. The puppet of the artist is wearing a woollen or felt grey suit which easily gave away the other artist Joseph Beuys. Don't think Cattelan is keen on idealists artist that want to change society or the artist that present himself as the Savior of society as Beuys represents that's why is hanged in a still frame position to make fun out of it as it can't move to reach the ground, doesn't have shoes. Cattelan represent himself in some of his art work with sometimes an ambivalent meaning open to interpretations as there isn't much description about the art work so it leaves it open to interpretation this goes together with other themes across his work such as shock, absurdity, death, authority & humour.

                                                       Maurizio Cattelan Lullaby 1995

 

Maurizio Cattelan BidibidoBidiDiboo 1996

                                                  Maurizio Cattelan La Rivoluzione Siamo Noi 2000

                                                       
                                         
                                         
                                           

New Art from Russia at the Saatchi Gallery

Just before leaving for Italy I managed to get invited for the opening of the exhibition: New Art from Russia at the Saatchi Gallery. The exhibition was well organised I found the members of stuff informative & it was nice to get a free glass of wine while going around the Gallery. I started looking at the work on the ground floor in particular at Janis Avotins in Gallery 5 ghostly, thinly painted canvases using acrylics of mainly female figures that one can hardly see due to the monochrome use of paints which give an evocative feel to the work.The figures are shown isolated & unrecognisable giving them a sense of phantom like air which somehow fit in between being central while melting into the background of the painting. In the same room there is also the work of Nika Neelova which is made of  Burnt and waxed wood, paper and ink positioned opposite Janis Avotins paintings in the main room so one can go around the sculptural installation made out of old beams, casts and worn ropes so shown, re-composed in a different way from their original use. The just apposition of the ghostly paintings on the walls with the burned & waxed wood in the corners of the room worked well as both artists in different ways deal with history. While Janis Avotins deals with history of memory that disappears the figure from the collective memory making it anonymous. Nika Neelova  works with memory history where we get shown how one reads and distorts in the present the past also shown by the ironic title of the art work.  Then I went to Gallery 10 where I saw the work of Valery Koshlyakov: large scale cardboard paintings forming a collage of the the Grand Opera in Paris again we are looking at how things are seen interpreted such as the old empire and at how everything is ephemeral or a mad fantasy depending on once own interpretation as one can seen from the the unfinished details in which the painting is made not showing a final piece of a solid Opera house but more like a fragile imagined castle. I found interesting the contrast between the flimsy support of the cardboard (which replace the solidity of the canvas) with the subject: the actual Opera House which is reminiscent of opulence, solidity, status completely the opposite of the cardboard.  The use of Tempera in making the work and also the Opera House makes one think that the artist as a keen interest in ancient ruins when I was looking at it I thought I might have been looking at ancient ruins or a building in Rome this was given by the energetic brush strokes of the tempera and the passing by of time contrasted by the use of cardboard and a sense of irony towards monumental Government buildings with a reference to the Stalin era.

In Gallery 4 Daniel Bragin is another artist which questions through the use of opposite materials how we view things like in the work Bedtime Story which is made using broken windshield glass and hold together by PVC strings. I found the piece moving and chilling at the same time. As the Bed cover is not made of a nice woolly comfortable blanket but made of windshield broken glass which one would associate with car accidents, violence possibly a lost childhood a dark bedtime story not a light one and then all hold together by coloured PVC plastic threads which  gives  a touch of lightness, innocence to a rather dark fragile story.

                                                    Jana Avotins  Untitled on canvas 2012

                                                    Nika Neelova Scaffolds Today, Monuments Tomorrow 2011

                                                     

Valery Koshlyakow Grand Opera, 1995

Daniel Bragin Bedtime story 2012

Night Paintings by Paul Benney at Somerset House

Somerset House is an important arts and cultural centre based in central London in the strand overlooking the river Thames. In the winter it contains the ice ring in the summer they have acclaimed concerts exhibitions. They run regularly exhibitions of contemporary art, design and  family events workshops.

                                                                                     Into The Morning, 2008. Oil on Canvas.

Currently in the Underground Burial Chambers of Somerset House also known as the 'Dead House'  which is made out of a series of underground corridors containing in his alcoves the gravestone of seventeen-century nobility (no bodies) and usually not open to the public it runs underneath Somerset House J. Safra Fountain Court.  I saw the  exhibition: Night Paintings by British artist in residence Paul Benney. 

                                                           

The Burning, 2012.Oil on Wood.

 While exploring the alcoves containing the paintings I did notice two main themes going across his work. Half of his paintings represent nature at night or at sunrise where human figures are absent or playing a minor role in comparison to nature in the painting  giving a sense of feeling of isolation of man as the man is represented as small figure on the right hand side of the painting.While the other half have male figures positioned in the middle of the canvas apparently criminals represented as apostles giving a sense of allegorical meaning to the canvas.. So there is the theme of light versus darkness, most of the paintings the bottom side are in darkness while the light is shined from above on the top half of the canvas. For example we can see this in the painting 'Into the Morning' or in 'View from the Landing' or 'I Came unto Myself. In several of his paintings Also storytelling and the intangible is important and it's given by the titles of the paintings such Levitation, Snow in Jerusalem, I came unto Myself in a Dark Wood etc  but they do describe to the viewer the painting instead of making the viewer guess figure out what is not there. 

All the paintings have been made using oils on wood or canvas or on board some also include resin or encoustic which makes one think that the artist Tome Benney  appreciates, has an interest in traditional methods of making  paintings one can see this in reference to paintings such as 'Burning Moors' which remind me of the vast landscapes of Turner while other paintings made me think of Goya haunted black paintings such as The Colossus and The Incantation, see below. He enjoys working with elements or representing the elements such as water, fire and most of his paintings have been made using muted colours to give a sense of things not defined to give an atmospheric dream like state as one can see from the Painting: Snow in Jerusalem, 2012. Oil on Wood.

Goya, Colossus.

Another of Goya's Haunted paintings; The Incantation.

Pyramids

Lately I have been studying researching ancient Pyramids in Egypt, like many others I have been fascinated with their impressive scale, their hidden meanings the geometry behing them but I am also also looking at how the image of the pyramid is  been used now days in a completly different context by varied artists. I am doing this as in the future I would like to work on a conceptual piece based on the  image of the pyramid but I am also interested in the social meaning more to do with Capitalism that has come up in some Contemporary American artists to challenge the notion of Capitalism as it stands at the moment & their version of producing something alternative to Capitalism: a more equal social structure.

Officially Ancient Pyramids where tombs of the Pharaos and their Queens. But the variety of symbols, their positions made people study & discover other meanings. Some people say they are symbolic of a mountain, that the square base actually rappresents the four corners of the world and four directions and that the peak connects the sky to the earth basically it is a path between the wordly and the heavenly so they where houses of eternity but it also rappresented social class. The social structure was based on power. The Paraoh was at the top with officials then priests then scribes last where the peasants. If One compares this with the contemporary artwork, performance by occupy LA with Robby Herbst where they mirror contemporary class dynamics inspired by a 1911 diagram by industrial workers of the World called Pyramid of the Capitalism system.Robby Herbst & Occupy LA work seems to be about how we act or how we move our bodies to shape the pyramid or reshape and doing so how we shape and reshape our society, our place in the pyramid or how he said it: how we construct and enact the pyramidal form. Or by his other work stacked chairs which I find really freeing, from the obsolate strict hierachy structure of Capitalism which is based on money and power, as anybody can sit on the chairs at any given time

 I am also interested in the Maslow hiererchy of needs, by the American Psychologist Abraham Maslow, which is potrayed in the shape of the pyramid where he says phychological needs have priority over other needs and they should be met first  where self actualization is most important and especially by the fact that he says that without a balance between physical, financial, health, wellbeing, safety maybe  due to war, family violence, abuse people or economic crisis as we are experiencing at the moment a lot of people are at a disadvantage and experience post traumatic stress. So what interest me is not only the physical rappresentation of the pyramid but also the psycholgical, emotional side which in a capitalistic society is taken aside behind producing and consuming. 

There is also the work of David Huffman: Basketball Pyramid  at SF Arts Commission Gallery where he looks at race trought the use of the basketballs, a popular object known to almost any American. Then there is the work of Beau Blinky which is completly different it's more sculputural in a more traditional way on the right hand side he is interested in outdoor sculptures more then indoor conceptual work so another different function of the pyramid.

and then there the minimalist Isometric paintings Pyramid of Sol Let Witt which are directly painted onto a wall as other minimalist artists he was interested in the idea not to show that the artist had created the painting so he left just instructions on how to paint it for others to do it.

 Sample of other art works rappresenting pyramids made from scraps or Lego

Or the human body as the pyramid through it's chakra centres as it's known in new age circles. I have been looking at the different forms and meanings of the pyramid for my own conceptual work I am interested in the actual physical structure, the geometry but also by the different concepts that have been used by contemporary artists that have used the image of the pyramid combined with concepts to open a discussion about Capitalism and our role in society.  

                                

Alan Cristea Gallery: Edmund de Waal

I was crisscrossing around Bond Street when I pass by the Alan Cristea Gallery a commercial art gallery in
Cork Street  when the exhibition inside got my attention.The artist on show is Edmund de Wall.

The title of the exhibition is a Thousand Hours an installation of black and white cases open and closed of a rectangular size in one room and in the other room another closed case of a large scale that one can walk  move around giving it more of an architectural feel. Inside of the cases one can see long  tubular ceramics or flat ceramics of a similar shape and of similar colour positioned closely together in the case of the tubular ceramics or one on top of the other in the case of the flat ceramics both are made out of porcelain. The colours of the pots work together with the outside colours of the cases, they give out to the viewer a sense of harmony combined with the rectangular precision of the shape of the cases which make one think more of carefully designed objects of an architectural nature viewed in public spaces then pottery based in a house. Also  the pots are individually made by the artist and have a natural imprecise feel to them which  are counteracted by the precision of the shape of the cases which give out the idea that the artist wants to hold the vessels somehow in space not to frame them but to be wanting them to hold them in their movement this is allowed by the fact that the viewer can walk around or through the cases and feels surrounded by the vitrine pots from below and above . Some are easy to see while other are hidden behind the opaque glass of the cases, so they are out of reach. Edumund de Wall said that he liked 'to record the thousand hours of tiredness, exhilaration (spent while making the work): my sense of the fleeting moment and its afterlife'.

The works I have seen at the Gallery where: Weights & Measures,2011:small stacked ceramic dishes apparently it was inspired by the work of Richard Serra Weight and Measure which was exhibited in the Halls of Tate Britain in 1992.

Poetry also features in Edmund de Wall work in pieces such as a Lament 2012, Three Poems of Return 2012 and in The Pleidaes Hide Away,2012

The first one is based on Giotto's 'Lamentation' this can be seen by the fact that the work is been installed up high to give a feeling of release similar to the Angels in Giotto's Lamentation where they are seen above the scene of mourning of the Christ.

 

 In the second one the ideas is based on Sappho's Fragment 44 written in response to the Iliad. I also did  notice that he doesn't use the whole text of a poem but just fragments of it. The third art work is based on the ancient Greek poet Hesiod (c.750-650BC)and his work the Atronomy where he wrote about constellations, stars  and on the Pleiades the  mythological daughters on Atlas which where considered by Greek astronomers as distinct constellations. All of this is represented using 'stopped' shelves to signify the fragments of Hesiod's text of the constellations combined with the black glazes of the actual pieces to evoke the essence of the galaxies at night.

One other important reference to the specific piece of In Praise of Shadows, 2012 is the essay by Ju'ichiro Tanizaki on Japanese aesthetics where it's discussed the importance of light and dark and how some things should be left in the shadows and others should be brought to light. All of this made me think that Japanese aesthetics as had a strong influence on his work and the way he works and displays his art work. Over all he is been able to successfully join traditional methods of work with contemporary more conceptual  so to join east and west.With this exhibition is been able to bring into a contemporary conceptual setting pottery so to reach a wider and different audience is been able to combined traditional methods with modern methods the fine artists with the potter.

This exhibition made me rethink at the way I display my own ceramics generally I have shown my ceramics on pillars but with my current sculptural work that I have been recently making I want to experiment and place them on shelves on a wall to see what effect this has on the viewer. My ceramics are very different from Edmund de Wall works as his work the vessels seem to be mainly pottery done on a wheel. My ceramics are not done using a pottery wheel. As I see the wheel as a barrier between myself and the actual piece I am working on but I think I should definitely experiment more with different types of clays and work with porcelain and  experiment with new glazes.

 I have noticed that anyhow I do use a wider range of glazes then the once used by Edmund de Wall he seems to focus on a uniform layout he looks at the overall and how it works together while at the moment I am more interested in exploring on how the individual piece works within itself in a self sufficient way.

My ceramic sculptures have both abstract and figurative elements and I mix the two sometimes depending on what I am working on. Below is an example of my latest ceramic piece. The process of choosing the correct glazes combined with the correct temperature to fire the ceramic pieces is enjoyable exciting but also time consuming and at times frustrating as not always the ceramics come out as you think they would due to the machine not working properly or the glazes been to thin down or to thick. Still I do enjoy working in clay because it's a non rigid form of making sculptural work  and I see a lot of potential in it for conceptual work.                                                  

                                                         Mirta Imperatori copyright 2012

White Cube Mason's Yard: Magnus Plessen

Went and had a snoop around White Cube in Mason's Yard which is located in the centre of London near Jermyn street not far from the Royal Academy in between Piccadilly Circus and Green Park and near Fortnum and Mason so again we are talking about an expensive area. It's really accessible based in a courtyard. Mason's Yard used to be the home to the Indica Gallery where John Lennon and Yoko Ono met, not far in 13 Mason Yard was the Scotch  a major hang out for music events. Jimi Hendrix played there when he first came to London, they have now changed the name of the venue. It's very different to how it used to be in the 1960's in the times where there was buzz in the air and a lot of things where happening. I mean the White Cube in Mason's Yard looks again sleek and stylish and it adds more contemporary art to the area but lacks in the 1960's party experimental element. Sadly it's all about business this days with many galleries. Anyway I saw the exhibition of the German artist Magnus Plessen. All the paintings are made on canvas using bright colours he used the same colour range and style in all the paintings. The bright colours added a playfulness to the work a theatrical element to the fragmented figures. The paintings look like collages: he turns the canvas 90 or 180 degrees as a way of getting away from an individual view point to create multiple and simultaneous viewpoints of flat surface. I felt that the paintings worked better in the downstairs room as the room was wider  to accommodate his large paintings then the upstairs one where they felt a bit cramped.

Fractal Geometry & My Digital Art.

According to this post from Sacred Geometry Mandala Art, Phytagoras described geometry as visual music. Music is created by applying laws of frequency and sound in certain ways. States of harmonic resonance are produced when frequencies are combined in ways that are in unison with universal law.

So sacred geometry is used in Tibetan Buddhist Mandalas & in building religious Cathedrals or temples.

These same laws can be applied to produce visual harmony. Instead of frequency and sound it is angle and shape that are combined to produce visual symphonies that show the harmonic unification of diversity. The same spiral is found across the universe, with spiralling galaxies using the same ratios.

What is the golden Ratio, in short the Golden Ratio is 1.61803399, this numerical value finds itself in many places in nature and the universe, if you have seen Leonardo' Vitruvian man it's the dissection of the human body using the Golden ratio. So Leonardo da Vinci can be said to be the 'Godfather' in the use of fractal mathematics in the arts as you can see from his work below.

Recently I have also been looking at fractal geometry and it's usages in computer graphics. As Computer Graphics artist use fractal forms to create textured landscapes that give more of a 3D look, mountain views but one can also use the more basic form of the Sierpinski Triangle above as part of one owns deign or the Koch Snowflake construction or like Paul Cezanne wrote to Emile Bernard in 1904: Everything in Nature is modelled according to the sphere, the cone and the cylinder you have to paint with reference to the simple shapes: than you can do anything. By contrast in Fractal Geometry of Nature Benoit Mandelbrot the Mathematician responsible for coning the name fractal had different view on this saying that: clouds are not spheres, mountains are not cones, coastlines are not circles and bark is not smooth nor does lightning travel in a straight line and he also said that to appreciate the nature of fractals recall Galileo's splendid manifesto that's said: 'Philosophy is written in the language of mathematics and it's characters are triangles,circles and other geometric figures without which one wanders about in a dark labyrinth.'

Some great fractals are also the Julia sets, devised by the French mathematician Gaston Julia (1893-1978). The Julia Sets are generated by applying an iterative non-linear process based on a very simple square-law function.

I am also interested in the space filling-curve: is a curve whose range contains the entire 2-dimensional unit square or n-dimensional hypercube Giuseppe Peano was the first one to discover one so they are usually called the Peano curves here is an example.

There are fractals in nature such as broccoli with their molecular structure and I have been  thinking to incorporate this different elements in my digital art work. At the moment my digital art work is not inspired from nature but I would like to introduce more natural elements to see if it gave my digital art work a more realistic or natural look and to experiment with patterns, or maybe incorporate photographs of objects into my digital art work

The challenge with digital art  is that it looks good on the computer screen but sometimes when one prints out the work it doesn't look as good or takes on a fantasy, fantastic style look like the examples below and it all turns into the same sleek 'fantasy kind of theme'. So I have been questioning by looking at other digital work, fractals, Op art on how to make my digital art work stand out original different from the general fantasy landscapes I see around but also printable that could be shown in an actual Gallery Space by using geometry as a way of depicting spacial depth this is still work in progress as in digital art the better the equipment one has the better the digital art work. There is also the challenge that digital art is still seen in a separate section from main stream art it would really be great  to break this boundary and that digital art become more main stream and accepted in main stream art as it is just another medium to make art and being creative.

                                          Mirta Imperatori Copyright 2012

                                         Mirta Imperatori Copyright 2012

                                         Mirta Imperatori Copyright 2012

This is my current digital art work that I have been recently working on. I have been experimenting with geometrical shapes and non to create spatial landscapes. I hope in the future to learn new programmes as this I am the moment is limiting the type of digital art work I am producing. For the current artwork I just used one computer programme I am familiar with.