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Baoyang Chen
Brooklyn, NY
Neighborhood: Greenpoint



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.
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The above video should be viewed as an infinite loop. It is a myriad level of interpretation to the famous Chinese Landscape painting ¡°Autumn Colors¡± by Zhao Mengfu. The changing background is extracted from elongated slices of the painting. The audio is composed through a structured conversion of RGB value of the image¡¯s color pixels, extracted in order from top left to bottom right. The round circle in the middle is the audio frequency-gram of the soundtrack being heard.





*This is a video documentation of my Prints and Projections installation. The six images seen on the left in the video were actual prints on the wall. I used a projector to illuminate these prints. I mounted 2 cameras side by side and overlooking the printer. One was connected to the computer and took stills at designated increments of time. Each new image taken was fed back to the printer for printing, and the process was repeated. The second camera kept a video recording. I am interested in the basic concept of lens-based media. I try to produce work as a response to the common perception that stills represent the past and videos/moving images give sense of the present. In the installation, actual prints are illuminated on the wall prior to them being printed, as documented in this video. Under this setting, I attempt to create an illusion that such prints come from the future.


It's an installation view of projection + prints at a varied scale, with two-channel sound track. This is my attempt of objects - seal/stamps traveling between virtual and physical space, which extends to our visits between digital and cultural space. In the installation, stamps were printed on the plastic and projected. The content of stamps are a combination of Chinese words and the graphics extracted from the cyan-ish image. The image was transformed from seascapes. Two separate audio tracks were based on description of the stamp being projected at the moment, left based on Chinese and right based on English translation. When viewer approach the installation, the air flow will trigger moment of the plastic planes. I carved stamps in the virtual space, but empowered inkjet molecules and light waves into the representation of Chinese stamps in the physical space. Light waves of the virtual stamp projected from the contemporary apparatus crashed through the transparent plastic which left subtle trace on the plastic but eventually crashed on the wall. This gesture was my reference to the tradition which traveled through time and affected on the contemporary cube yet left illusions for people to imagine. Each time we try to revisit artifacts of the long-gone culture, the echoes stirred by our scrutiny also change the shape of it simultaneously.


It's an installation view of projection + prints at a varied scale, with two-channel sound track. This is my attempt of objects - seal/stamps traveling between virtual and physical space, which extends to our visits between digital and cultural space. In the installation, stamps were printed on the plastic and projected. The content of stamps are a combination of Chinese words and the graphics extracted from the cyan-ish image. The image was transformed from seascapes. Two separate audio tracks were based on description of the stamp being projected at the moment, left based on Chinese and right based on English translation. When viewer approach the installation, the air flow will trigger moment of the plastic planes. I carved stamps in the virtual space, but empowered inkjet molecules and light waves into the representation of Chinese stamps in the physical space. Light waves of the virtual stamp projected from the contemporary apparatus crashed through the transparent plastic which left subtle trace on the plastic but eventually crashed on the wall. This gesture was my reference to the tradition which traveled through time and affected on the contemporary cube yet left illusions for people to imagine. Each time we try to revisit artifacts of the long-gone culture, the echoes stirred by our scrutiny also change the shape of it simultaneously.


 








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