The project Rhythm Section Binär encourages the cross-disciplinary exchange and engagement on the subject rhythm in contemporary digital art.

Not to be confined by the greatest, yet to be contained within the smallest is a definition, which declared the enterprise of the artists group Rhythm Section. The substantive trait, which linked the artists of the group Rhythm Section in their works is the commitment to a hyper reflexivity in dealing with the rhythm, not as a compulsion, but as an original constant. The clear handling of the rhythm allows an endless variety of individual variations.


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For his latest series of work Kefford has been making a collection of ‘digital sculptures’ utilizing small-scale waste items – plastic fragments, bottle tops, paper, wire, balloons. Each one of these tiny objects contains the geological and psychological memories of our fragile environment. Once in the studio these objects undergo several hand-made experimental sculptural processes and are then digitally manipulated using Instagram GIFs. These combined processes have enabled Kefford a way of introducing evidence of human-nature-techno interaction whist generating a diverse cultural-historical archeology of queer or future relics in the age of the so-called Anthropocene.

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Experience can be understood as a process during which a vast number of media are assembled into a combination of forms.

The question arises as to what the basic components (media) of painting might be, if you look at a painting as a composition of mixed substances and their reactions to each other. I distinguish eight elements of painting: color, surface, movement, time, space, light, substance (various materials) and finally the painter. Here, space and light are elements of the environment in which a painting (form) is created; color, surface, motion, time, matter and the painter are both elements of an environment, as well as a painting.

The experience I have had when experimenting with painting by digital means, is that the ratio (relationship) between several of these 8 elements is changed.

Even while painting with computer processors, the space remains an element of an environment. In contrast to analog painting, the light in digital painting is an element of an environment, as well as the painting itself. A surface made of paper, fabric, stone or wood absorbs the color of the light in an environment. The surface of a screen has its own internal electromagnetic radiation in addition to reflecting light from the environment.

As is the case in analog painting, the use of color has two origins: color space and colorant. The colorant, or ‘dye’, of the screen, and the color space which is stored in the computer memory, both determine the color tone.

The surface in painting is defined as a base. Two main properties of the surface are significant for the attachment of colors: the size and shape of the surface, and the quality of the surface. There is only one difference between analog and digital painting: there is no way to change the original quality of the surface of a screen by the use of digital tools.

Also while digital painting, two different movements can be distinguished: the movement of the painter in space and the movement on the surface. The relationship between time and the time zones on the surface also remains the same, although the color and original quality of the surface of a screen is made of the same material.

In analog painting I have a way to apply several substances on the surface of a painting base. In contrast, only the materiality of the screen is retained in the digital painting.

Likewise, a painting developed by digital tools always refers to the painter and the communicated meaning.

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The two works I made for the Meural Canvas II are the first animation works I’ve made. The medium of animation turns out to suit my work very well. Normally I paint small panels or big wallpaintings. The design of the works is a fluid process of adding and deleting forms, colors and textures. In an animation the fluidity is evident.

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(Notes from my diary)

October – November 2019

“You are the knife I turn inside myself. That, my dear, is love.” – Kafka, Letters to Milena, 1920.

This image upsets me. These words are themselves like a knife.
Today I’ve been thinking a lot. I feel myself in front of a mirror. I feel challenged to question myself.
There is a singular process with which we discover ourselves through others. But if this ‘other’ is me, there is something that is screaming inside, keeping my attention.
From here, the value of an experience starts, and for me it exists as an exercise of truth.
I said…like that ‘sharp knife’. I like this image because it evokes something very profound. Probably for these reasons, I thought for a long time before starting these digital works. I postponed it. Because of my fears, and because creating a digital painting presented itself as being-in-the-world (geworfenheit) to use Heidegger’s words. I wanted to pass through this new collective experience, knowing that it would be a choral work.
I didn’t think ‘I have to do a digital painting’. I didn’t want to do the literal transposition of my paintings.
I just wanted to let another possibility of expressing myself emerge connecting myself with others. But I didn’t know how to do it. I didn’t find the ‘rhythm’. But I thought about a recurrent action: to capture movements without tools, with the movement itself. I wanted to evoke the fragmentation and the sense of loss that I feel every day. How? I knew that something could have appeared, keeping my attention.

Well, honestly, I forgot the digital tools as ‘digital’ and ‘tools’.
I thought about manifestations of my mind, transcending the materials and the technique. I translated my representation method trying to evoke the same suggestions with other languages. I only wanted to search a deep and light connection between my feels and its disclosure. And something happened.
I noticed, some days later, that I had an old scanner at home.
I tried.
I produced obsessively about one hundred images, called ‘Osmosis’.
And I’m still wondering, now: “How many knives do you have to rummage into yourself?”

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My experience with digital tools

I remember the first time I used a digital tool to draw motorbikes, it was a Commodore 64, a present for my Confirmation. I used a joystick and an OS called GEOS, It was in the end of 80’s. After many years, meanwhile I studied and practiced Art in its traditional forms, I answered to a proposal of a friend about trying digital art. My first though was: “Damn, I must buy another stupid capacitive stylus for my old iPad” and when I found a BIC with a capacitive cap for two euros I thought: “well, let’s try”. You can see the result in a Meural.

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Digital Drawing – Imitation of Drawing or Drawing?

It is an imitation of a stroke. But is it a line?

Is there a difference between a stroke and a line?

Is there a difference between an analog line and a digital line?

The most interesting point is the „corrected“ line, the treated form.

The imitation of a stroke will be treated by autocorrection.

A straight line is the autocorrected communication.

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The preoccupation in this series of works is with creating a dynamic interconnection of rhythmical marks in layers and meters which both connect and disrupt the surrounding marks and equally the underlying and superseding layers in the construction of the work.

In part the composition of these works is influenced by reading Carlo Rovelli’s publication ‘Reality is not what it seems’. In quantum physics the smallest particles act as both particle and wave and are only perceived as events when they interact, in this sense forming a unified field of energy punctuated by ‘events’ of interactions.

Working with screen based digital software there is an analogous correspondence between working with drawing and painting within computer algorithms, and the knowledge that the appearance of the material world is only the surface perception of a world which in reality is vibrating energy.

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