ARTIST STATEMENT: I have been heavily influenced by Zbigniew Karkowski's sound work, which encouraged me to take the first steps in creating algorithm-based art. I wish to acknowledge a parallel to his concept of the ¡°impossibility of improvisation¡± ¨C variation arises from standardizations, that has been essential to my creative thinking and practice.
Setting foot in the U.S. in 2011 distanced me from the blanketing experience of Chinese culture, and gave me the opportunity to deal with my Chinese heritage with a more globally integrated mindset and in a project based upon abstraction and reconstruction. My diasporic experiences made China seem at quite a distance and seemingly unrelated to my immediate Western experience. I knew I wanted to think in terms of both cultures but could not, at first, consciously find a way to frame the issues to do that. If anything, it was my digital training that more immediately helped to pave the way to a more global perspective because, despite the differences in software and programming, there is a universalizing base to the digital flow.
For my recent project - De Shan Shui, I feed a batch of 104 images into my algorithms, and repeated this process with different parameters, which provided me with thousands of visuals to work with and choose from. The foundation of above process is my set of three self-coded algorithms that reconfigure the raw information in the original Shan Shui paintings. My digital methodologies provide me working techniques of universalism, repetition, randomness and effortless-action.
I convert the brushwork to create new arrangements of pixels and color information based upon the original earlier Shan Shui paintings. My working tools are my algorithms, which use computational formulae to reconstruct the original tableaux in order to spawn new ones. Below is an image of one my father¡¯s original Shan Shui paintings and an output of it made from one of my algorithms.