Each week, we will highlight the participants in Digital Graffiti 2017. Join us and learn about these incredible artists from all over the world and what informs their artwork. This week, we’ve got Q&As with Wayne Madsen of Noblesville, IN, and Joon Sung of Bowling Green, KY.

Artist: Wayne Madsen
Location: Noblesville, IN
Project title: “Guernica”
Website: art.waynemadsen.com/waynesart


How much technology is required to create your work? If you didn’t have it, how would you produce it?
My work it entirely produced in scripting languages via some visual platform. The technologies adapt, change, and vary, but the language is the most important part of the process to make my pieces.

What else can you tell us about your work, for example your use of color (or lack of), rhythm or visual texture?
Since my work is algorithmically based, it is the computer itself that decides the rhythms and visual textures of the piece. I feel more that I am the author of the system and the curator of the work than the “creative producer.” I leave those decisions up to the computer and its random choices within the instructional algorithms I write.

What do you find most remarkable about projected art?
I believe that scale is an important factor in how these works are experienced. I am an admirer of Ryoji Ikeda’s large-scale projected experiences and also feel that a large-scale projection allows the viewer to be inside of the work itself.

How do you see expanding your use of projection for your art?
Since my works are created in real time, it is important to me to find a venue where my works aren’t video captures of the algorithm, but the actual rendering of the work. This would better capture the spirit of the computer being the artist performing life in front of the audience.

Artist: Joon Sung
Location: Bowling Green, KY
Project title: “Synthetic Love”
Website: people.wku.edu/joon.sung/work/new/new.htm

How much technology is required to create your work? If you didn’t have it, how would you produce it?
iMac, Lightwave 3D, Adobe After Effects, Premiere Pro.

I can hardly imagine making a media work like “Synthetic Love” without the digital tools listed above because experimentation and practices with digital media within a fine art, exploratory, and culturally aware setting are the heart of my creative research.

What else can you tell us about your work, for example your use of color (or lack of), rhythm or visual texture?
I explored synthetically generated images as a medium and a subject matter to extend creative potential. This piece enjoys the pure quality of colors, shapes and motion in which the visual and sound merge and become inseparable.

What do you find most remarkable about projected art?
Watching your work projected on large walls with a wide audience would be a mind-blowing experience, which is akin to cinematic events that you can hardly get the same excitement through a small monitor.

How do you see expanding your use of projection for your art?
I believe that the sheer scale can bring a spectacular show and attract public attention. I’d like to create a work visual statement that can affect the community.