#pollock legacy

[duusheen]

Hope went back home to pay the rent before traveling to her parents' house and was planning to simply put the money in the mailbox, but Sterling was there and she said, "Why not?". The problem is Sterling has a special ability to get on Hope's nerves, and as expected, they started arguing. But this time the argument lasted really short, and Hope started to think that maybe, just maybe, she could get along with Sterling at some point and be friends. Not today tho.

The real reason why Sterling was being nice 🤸🏽‍♀️

[doodle-dee]

In the making👀 @duusheen

[eliartblog]

Jackson Pollock Virtual Sketchbook 4

WRITING, THINKING AND LOOKING CRITICALLY 

Jackson Pollock was trained at the Art Students League of New York under Thomas Hart Benton right after finishing high school. Benton’s art was focused on the representative style, something Pollock did not particularly take a liking to. Pollock took only a few foundational techniques from his mentor such as using contrasting light and dark values. The rest, he gathered from experience, life, and copying previous artists such as Pablo Picasso. In the late 1930s, Jackson Pollock found inspiration by following Mexican muralists and joining Navajo art workshops. His “drip” paintings followed the Navajo technique of creating art with sand on the floor. 

The Surrealists peaked his interest in the unconscious. Pollock’s “drip” paintings attained their greatest moment in the early 1950s, around the same time New York’s art scene was being shaken up by the Beat Generation. He was very much influenced by this movement and became part of it through his creations. The movement was an attack on 1950s American conformity and values. It was the celebration of individuality. Additionally, Peggy Guggenheim’s commission and Piet Mondrian’s praises were just the beginning of Pollock’s short but intense career as an artist. Over the years, Jackson Pollock went from using abstract imagery to removing all imagery in his famous “drip” paintings because he had finally found himself and his creative style. He did not care for nonsense. He wanted to showcase the American wilderness, the one he’d known in Wyoming, as well as the freedom, the liberty, and the defiance of the American individual. 

[aurorangen]

Since coming out of the hospital and learning of the spy, Vincent has been more vigilant of his surroundings. He felt uneasy that someone might still be following him...even in another country. After resting he was a bit more alert, so just to be cautious, he asked Jay if he had any hats to wear to hide his face, especially in the busy town centre.

Some paintings in the building caught Renee's attention and she took some photos. One stood out in particular. It had a plane statue and she could see some people in the background. Armed with weapons.

Transcript:

Renee: Jay do you know what these paintings are of? Jay: These are of Chestnut Ridge and the plane one…I dunno. Maybe the next town? Or made up? Renee: Oasis Springs doesn't look like that. I wonder if that's Strangerville.

[aliengirl]

📩 Simblr question of the day: Who's your biggest inspiration/s on Simblr? Mention them! Tell us why you like them!

oh god ok wait

@seyvia just the cutest sims ever like?? i love them. and the editing?? so cute

@duusheen im obsessed with the pollock family, your sims are just top tier, the drama, i love it!!! the editing is awesome too

@aurorangen THE STORY??? so good, love the vibe, the characters, the editing, the screenshots, just 🤌🤌

@akitasimblr love the legacy, the editing is so fuunnnn i tried to copy it one time ngl

@thebramblewood i still need to catch up helena's story but omg how i love the whole writing/editing/screnshots omg

@stellarfalls I LOVE EVERYTHING IT LOOKS SO GOOD OH MY

there is so much more but those are the ones from the top of my head

[pagansphinx]

Women's History Month

Lee Krasner (American, 1908-1984)

Right: Self-portrait • c. 1930

Left: Krasner in her New York City studio • c. 1939

Lee Krasner (American, 1908-1984) • Desert Moon • 1955 • LACMA (Los Angeles County Museum of Art)

Lee Krasner was a first-generation abstract expressionist who married fellow artist Jackson Pollock in 1945. Although she never abandoned painting, Krasner's career existed in the shadow of her husband's, whose success was largely achieved with Krasner's help. When Pollock died in an auto accident in 1956, Krasner worked to ensure his legacy.

In the late 1970s, Lee Krasner finally took her rightfull place among other notable abstract expressionists in the exhibition Abstract Expressionism: The Formative Years at the Whitney Museum of American Art.

Upon meeting Piet Mondrian, a hero of hers, Krasner discovered they were both jazz fans and took him to a Greenwich Village nightclub. Mondrian was impressed by her work, saying it had ‘a very strong inner rhythm'. Krasner introduced Jackson Pollock to Mondrian in one of several introductions that would subsequently help propel his career.

'I painted before Pollock, during Pollock, after Pollock.'

– Lee Krasner

References:

• Essay: Abstract Expressionism, Metropolitan Museum of Art

• Art Forum: Abstract Expressionism: The Formitive Years

• The Women's Studio: Lee Krasner biography

• The Jewish Museum: Lee Krasner

• The Guardian: Reframing Lee Krasner, the artist formerly known as Mrs. Pollock

[solarsonicsoda]

Rating 500+ Theme Tunes - #5: Ultimate Muscle

Wrestling and anime is such a beautiful tag team to be seen so rarely. Ultimate Muscle is the localised name for Kinnikuman: Second Generation, which is actually a sequel to the original Kinnukuman. The original never reached the West outside of some weird M.U.S.C.L.E. toys, but this sequel was localised for the FoxBox block, a.k.a 4Kids, as well as airing on Kix and other channels internationally. It follows Kid Muscle and other superhero wrestlers continuing the legacy of their famous parents.

For the number one wrestling fan you know, I actually didn't watch that much Ultimate Muscle. However, that was still a good deal, and was not for a lack of trying. This show aired on Kix over here in the UK, which I would often watch whenever there was nothing on its sister channel Pop. This show's airing schedule there never really lined up for me, and I would often miss it as a result.

At the same time, I thought this show was real cool! I really like the way it looks today, and I always enjoyed the outlandish takes on the world of wrestling! So many of Kid Muscle's moves are super cool to be honest with you. I would absolutely love to watch through this one today, even if some of the humour and tone are not exactly aimed at me. I just love a cool wrestling story!

Looks like there's been enough talk. It's TIME for the THEME SONG RANKING!

Ultimate Muscle Theme Tune

This theme song is absolutely ridiculous. Giant brassy notes, endless rhymes, "Strength and speed and... flatulence?". Absolutely no notes. I think it's super super goofy, but I gotta be honest with you: I love it and it works. Say what you will about it as a dub, but this song fits that dub to a tee as far as I remember. It's a really catchy tune too, I'm always singing it to myself with all the different voices they incorporate, all four of them. Mike Pollock as Meat, you will always be famous. It's a truly wild song, but I think you simply have to love it. You can't make SIX consecutive rhymes without being somewhat beloved.

This one might be controversial, but I actually think this is getting an A! I promise there's some themes I dislike...

Stay tuned for more and be sure to send in any suggestions for other shows you'd like to see done (after the 500 already in the pipeline that is). Check out the intro to this series here, and it's tier list time.

[ayshanagina]

Art and Poetry

Poetry and art, two seemingly distinct forms of expression, often intertwine in a mesmerizing dance of creativity. Each medium has its unique language, yet they share a common goal: to evoke emotion, provoke thought, and stir the soul. In this exploration, we delve into the harmonious relationship between poetry and art, uncovering the ways in which they complement and enrich each other.

At their core, both poetry and art are vehicles for storytelling. While poetry weaves narratives with words, art communicates through imagery, color, and form. Yet, when combined, they create a multi-dimensional experience that transcends the boundaries of language and perception.

Consider the works of renowned poets like William Blake and Sylvia Plath, whose words evoke vivid imagery and provoke profound emotional responses. Blake's illuminated manuscripts, adorned with his own illustrations, transform his poetry into visual masterpieces. Similarly, Plath's confessional poetry, coupled with her haunting sketches, offers a glimpse into the depths of her psyche, blurring the lines between word and image.

Likewise, visual artists often draw inspiration from poetry to inform their creative process. The Pre-Raphaelite Brotherhood, for instance, sought to imbue their paintings with the lyrical qualities of poetry, embracing themes of love, nature, and spirituality. Through their intricate compositions and symbolic imagery, artists like Dante Gabriel Rossetti and John William Waterhouse brought to life the ethereal landscapes of Tennyson's "The Lady of Shalott" and Keats' "La Belle Dame sans Merci."

Beyond mere inspiration, poetry and art engage in a symbiotic dialogue, each influencing the other in profound ways. The abstract expressionists of the mid-20th century, such as Jackson Pollock and Willem de Kooning, drew upon the spontaneous rhythms and improvisational techniques of jazz poetry to inform their gestural painting styles. The result was a dynamic fusion of word and gesture, sound and color, creating a visceral experience for the viewer.

In the realm of ekphrastic poetry, writers respond to visual art with words, offering their own interpretations and insights. Through the poet's eyes, the static canvas comes alive with new meaning and narrative possibilities. Anne Sexton's "The Starry Night" and W.H. Auden's "Musée des Beaux Arts" are prime examples of how poetry breathes new life into iconic works of art, inviting readers to see them through a fresh lens.

Moreover, poetry and art serve as powerful tools for social commentary and cultural critique. From the protest poems of Langston Hughes to the politically charged canvases of Frida Kahlo, artists have long used their creative platforms to challenge the status quo and advocate for change. By blending word and image, poets and artists amplify their voices, sparking dialogue and fostering empathy in the face of injustice and oppression.

In essence, poetry and art are kindred spirits, bound by their shared quest for truth, beauty, and meaning. Whether separately or in tandem, they have the power to illuminate the human experience, transcending time and space to touch hearts and minds across generations. As we continue to explore the infinite possibilities of creative expression, let us celebrate the enduring legacy of poetry and art, forever entwined in the tapestry of human culture.

In the symphony of life, poetry and art are the melodies that echo through the corridors of our souls, resonating with the rhythm of our shared humanity.

And nothing unites art and poetry more than the mere feeling of melancholy, which is my most adored form of writing ;)

[abwwia]

[athenamarchmain]

[michelle pfeiffer — 63 — she/her]  introducing  athena marchmain . word on the street is they are a  socialite & private art dealer & antiquarian , having been around for  thirty years . despite an otherwise clear record, sometimes they are known to engage with  the syndicate’s affairs. though they are  capricious  and  decadent , they can also be  determined and  resourceful . in the chaos of new york city , they’re sure to fit right in. 

[ pinterest] [ spotify ]

tw: emotional abuse, murder ↴

basics

• full name:  athena sylvestra noailles marchmain

• nicknames: thea (used only by those closest to her)

• gender:  cis female

• pronouns:  she/her

• age:  63

• date of birth:  4th november 1960

• zodiac sign:  scorpio

• sexuality:  bisexual (although presents as heterosexual to maintain a certain image)

• place of birth: london, england

• residence:  a townhouse in manhattan (primary residence) ; also owns an apartment in london and a villa in tuscany

• occupation:  socialite ; art dealer ; antiquarian

• aesthetics:  old leather books, silk, red wine, diamonds, expensive perfume, fountain pens, roses, champagne, pearls, red velvet, expensive art, manicured nails, red lipstick, sly smiles

appearance

• faceclaim:  michelle pfeiffer

• voice claim:  michelle pfeiffer (in ‘stardust’)

• height:  5’ 6”

• build:  average ; a little skinny

• eyes:  light blue

• hair:  blonde

• piercings:  earlobes

• tattoos:  none

• style:

personality

• positive traits:  charming, determined, resourceful, articulate, confident, hardworking, punctual, sophisticated

• negative traits:  reserved, manipulative, capricious, decadent, flirtatious, opinionated, blunt, devious, assertive, selfish

• mbti: estj - the executive

• likes:  getting her own way, vintage wine, parties, sweet food, going clothes/shoe shopping, dancing, reading, researching,.

• dislikes: winter weather, arrogance, mansplaining, spicy food, heavy metal music, being ignored, jackson pollock’s art

• fears:  losing her money & status

• phobias:  entomophobia ; ophidiophobia

• hobbies:  reading, shopping

• skills: polyglot (speaks fluent english, german, french, italian, and russian) ; ambidextrous (favours her right hand)

• pet peeves:  tardiness, sexism, loud chewing, people talking over her

family

• mother:  charlotte annaliese marchmain (née kaiser)

• father:  alexander phillip marchmain iii

• siblings:  none

• ex-husband:  konstantin noailles

• daughter:  lilia persephone noailles marchmain @noailles

• granddaughter: ophelia ‘oppy’ athena noailles marchmain

favourites

• food:  any kind of pasta dish

• drink: red wine

• time of the day:  evening

• weather:  dry and warm

• colours:  red, gold, silver

• songs:  anything classical

bio

— born as a disappointment, athena is the only child of an english father and a french-german mother. they wanted a son who would grow up to be the heir of their respective media and pharmaceutical family businesses, to take a strong lead and contribute to the legacy, but they saw their daughter as meek and mild: somebody who would be a better wife and trophy rather than her own person. oh how wrong they were. her parents were more focused on their reputations than they were with their daughter and when we athena craved their praise or attention she’d be shouted at for being too whiny or distracting, kicked out of a room for interrupting, and ignored if she ever tried to ask why or fight back. she learned never to ask for anything, but just to take it and stand her ground.

— athena was raised by a handful of nannies, but one stood out- a firm but fair irish woman named maeve- and athena’s mother had the audacity to be offended when she referred to her nanny as ‘mommy’. maeve was indeed the only maternal figure in athena’s life- the only positive role model she ever had- and taught the young girl all kinds of things: life lessons, art, history, literature, and even the beginnings of learning the irish language, which she unfortunately had to drop when she was sent to boarding school. maeve would also take athena to explore the city with central park being their favourite spot.

— athena was taught german as her second language, then went on the learn french, and italian, and russian. she became fluent in all and have been incredibly useful in her working life. she flourished at boarding school, even if it was a challenge at times and even if she was bitter towards her parents for sending her away as if she meant nothing despite the fact she should be grateful for the opportunity. she saw boarding school as her parents getting rid of her and giving themselves another excuse to make her seem ungrateful or selfish when she retaliated; “we’ve given you everything you could want”, “other people would kill for this opportunity��, and so on.

— at the age of 23, athena met her eventual (ex)husband konstantin noailles at a social function in london where he had come from russia on business. he was handsome, charming, and had taken a shine to athena, who (being young and naive) was taken under his spell. it didn’t occur to her for a while that konstantin was anything other than a legit businessman with intentions of bringing the marchmain and noailles families together for political and financial gain. but when she did she had already agreed to marry him and knew she would be doing it without love in her heart. she tried hard to make konstantin say ‘i love you’ to her, but he always skirted around the subject and her efforts were wasted.

— after their meagre honeymoon, athena moved to new york city with konstantin, settling into an extravagant penthouse apartment with a clear view of the skyscrapers and the empire state building. it was during konstantin’s business trips and after exploring the city some more that athena developed a passion for art and antiques. she learned everything she could on the majority of subjects to enhance her knowledge and with her newfound status was able to talk to some of the most influential people in the modern art world. athena’s favourite movements are art nouveau, impressionism, and the victorian antique period.

— her only child, lilia, was born in moscow, russia, when athena was 28 and accompanying her husband on a business trip. athena thought having a child would bring her and her konstantin closer together, but it jammed the wedge between them even further. very much like her own parents, konstantin longed for a son he could pass down his legacy to, but he ended up with a daughter. her life was beginning to repay itself and because of her youth,fa fear, and naivety, the cycle of emotional distancing unfortunately didn’t end with athena. she was the same way with lilia because this was the only way she knew how to love: from a distance and without evident displays of emotion. athena loves her daughter, though… in her own way. she refers to lilia as sepphy (taken from her middle name persephone) as a sign of affection and would viciously retaliate against anybody who dares to physically or emotionally hurt her daughter.

— when lilia was 16, athena watched as she killed a man for the first time, right there in konstantin’s study. it was an horrific moment to see her child lose all innocence, but athena had to let it happen. she stood behind her husband, gripping the back of his chair so hard her knuckles turned white as lilia made them proud.

— athena eventually divorced konstantin, reverting to her maiden name of marchmain but keeping noailles as a kind of middle name and a sign of her status and connections. konstantin tried to make lilia stay with him, but she chose to stick by her mother and together they moved into the manhattan townhouse that they both still reside in. not long later, and thanks to her ex-husband’s connections, athena became affiliated with the notorious syndicate, who she provides information for based on gossip and facts she’d heard from clients concerning people of interest. she finds great amusement in establishing trust with somebody, getting what she needs from them, and then betraying them for a greater cause. she is loyal to the syndicate. it’s very much a ‘you scratch my back and i’ll scratch yours’ relationship.

— in 2014, athena stayed in london for eighteen months due to the particulars of some new work she’d taken on and bought an apartment there which she still own tho this day. the move coincided with lilia’s choice to attend oxford university. athena gave lilia the independence to live away (and also the money to do so), keeping her daughter close so that she could keep tabs on her whilst also providing her with a first class education. athena also extended her work trip after the eighteen months was up just to be near to lilia and the two returned to new york once she had graduated.

— “like mother like daughter” was a phrase athena heard being whispered quite often. she and her daughter were notorious for being suave, cunning, sexy, assertive, and most noticeably gorgeous. all they had to do was bat their eyelashes, flick their golden hair over their shoulders, and gaze at others with their bright blue eye and they had them wrapped around their little fingers. it was something athena was proud of, that her daughter ended up like her and it having to worry about lilia being taken advantage of. she had her mother’s strength and wit and athena could rest easy with that knowledge.

— today athena still lives the life of luxury and has considerable influence in new york city’s elite social circles. she works as a private art dealer and antiquarian, mainly for celebrities, business owners, investors, and anyone else that can afford the most exquisite and historical of items. she has a gallery and office near tribeca where, when she’s not attending parties and other social gatherings, she can usually be found.

[duusheen]

[onelittlemac]

Journal Entry #15: Going Deeper

[🔮Occult Legacy Challenge - Generation 1 Diaries🔮]

After receiving the filter in the mail, it was time for me to enter the lab once again.

With only one filter to complete the hazmat suit, I knew it was me who had to go. I ran the plan by Mortimer, Cassandra, and Pascal at work that day. But now, it was time to go alone.

After bypassing all the locked doors, I made it to what the lab had been covering up this whole time. A massive Plant Mother!

I tried interacting with it, and though it doesn’t seem hostile towards me, it does feel dangerous. More spores than ever before have begun filling the air, all of which are coming from the Plant Mother. Her root systems look to spread from here throughout the whole town. She's getting even stronger.

Maybe Dr Pollock was correct. First, we need to make a vaccine to cure those who are PØŞŞ€ŞŞ€Đ. They might have the answers to what the Plant Mother is doing. Maybe we can understand her motive or learn her weaknesses and destroy her? Either way, we're running out of time.

To be continued...

< prev entry | next entry >

[u-mspcoll]

The Clements Bookworm: A Library Looks at Audubon, Both His Birds and His Background

A conversation with Gregory Nobles, moderated by Marieka Kaye and Caitlin Pollock of the U-M Library

20 October 20 2023, 10-11am

Gregory Nobles will discuss the legacy of John James Audubon (1785-1851) as both a brilliant artist/naturalist and unrepentant slaveholder, inviting us to explore the connection between the personal background of this flawed figure and the continuing impact of his remarkable art. Details on joining the event here!

Read more!

[aurorangen]

It's as if he read her mind and he leaned in for the very first kiss ❤️

[proustian-dream]

"Pollock, as I see him, left us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-Second Street. Not satisfied with the suggestion through paint of our other senses, we shall utilize the specific substances of sigh, sound, movements, people, odors, touch. Objects of every sort are materials for the new art: paint, chairs, food, electric and neon lights, smoke, water, old socks, a dog, movies, a thousand other things which will be discovered by the present generation of artists. Not only will these bold creators show us, as if for the first time, the world we have always had about us, but ignored, but they will disclose entirely unheard of happenings and events (...)"

—Allan Kaprow, "The Legacy of Jackson Pollock", Essays on the blurring of art and life

[easternmind]

Embodiment

-- PixelJunk 4am and the legacy of the Gutai Group --

When the abilities of the individual were united with the chosen material in the melting-pot of psychic automatism, we were overwhelmed by the shape of space still unknown to us, never before seen or experienced. Automatism naturally made the image which did not occur to us. Instead of relying on our own image, we have struggled to find an original method of creating that space. - Jiro Yoshihara, in The Gutai Manifesto (1956)

European art witnessed the surfacing of its first unsystematic tendencies in the early decades of the 20th century, during which Dadaism and Surrealism rose and flourished. Artists like Bréton, Miró and Masson pioneered the technique of automatic drawing, in which art was conceived by the unrestricted will of the psyche, not unlike an earlier experiment in the realm of literature by Soupault. With a similar intensity and liberation from accepted norms, Jackson Pollock was among the first to propose and defend an attitude which later made his name synonymous with Formalism and post-modern Structuralism. According to his perception, the kernel of action painting, uniting plastic and performative arts as never before, surpassed that of a mere technique or methodology: to the North-American painter, the action or corporeal movement was the sine qua non condition preceding both the object and subject in art.

The influence of Pollock on abstract expressionism and other manifestations of post-war art, albeit felt throughout the world, was of particular significance to a Japanese up-and-coming artistic collective known as the Gutai group. Encouraged by the audacity of French Tachisme, this critical chapter of Japanese art history begun circa 1954; assuming a more definite posture upon the publication of Yoshihara’s The Gutai Manifesto two years after. Praising the work of Pollock and Matthieu, this essay advised a new and universal and distinctively Modern postulation, the culmination of the group’s long held desire to renew art by giving emphasis to the creative process itself, preserving the vitality of materials.

Half a century later, and as the first pioneers of this current have disbanded or, for the most part, passed away, the rise and fall of the Gutai movement was reduced to a sporadic footnote in a predominantly Eurocentric and excessively complacent History of Art. Nevertheless, a contemporary generation of Japanese artists and designers continues to carry the flaming torch of their irreverence, once lit at the height of modernity, paving the road for new and daring accomplishments in present-day media - most of which unimaginable prior to the age of digital emancipation. Kyoto-based artist and designer Baiyon has become a reference in his generation for carrying an identical creative philosophy to the fields of design, electronic music and digital art. His association with the retro-themed project Pixel Junk opened the door to this decade-old heritage, allowing it to exert its influence on a medium so far indifferent to legacy of Japanese embodiment. Eden, his earliest collaboration with Cuthbert’s studio, already incarnated many of the Gutai tenets, with its matchless dynamic visuals and remarkable aesthetic concern.

On the other hand, his most recent creation, entitled 4am, provides an even deeper insight into Baiyon’s subjective vision. Briefly, it consists of an organic audiovisual music generator relying on motion-sensing technology, an avant-garde ludic interface where graphics and sound blend seamlessly in real time. Operating in a minimalist and discreet environment, deliberately abstaining from the traditional presentation motifs or on-screen displays that tend to characterize video game presentation, 4am promotes the active creation or recreation of sound and forms; an interaction with a three dimensional space guided by the player’s own intuition and ingenuity. This unhindered creative principle is consonant with the drive that once fueled the insurgence of artists such as Shozo Shimamoto, Kazuo Shiraga and Sadamasa Motonaga.

Incidentally, the late Motonaga was a pivotal inspiration for Baiyon ever since his days as a student at the Seian University of Art and Design. His celebrated wet oil painting technique, for which he earned international recognition, relied upon disruptive factors such as gravity and chance in order to achieve an impromptu end result. Some of these aesthetic elements are conscientiously reproduced in Eden as well as 4am, as demonstrated by the dripping tints in the visual theme envelop you, envelop fish. The illustration style adopted by the young designer in other iterations, as is the case of his visual design label Wetside, reveals a similar concern for an attentive choice of colours, tones and vibrancy. Contrarily, shapes tend to reveal more volatile and fortuitous patterns, undoubtedly a product of his philosophy of applying for accident in design or, in his own words, an undeviating pursuit for serendipity.

The fundament of performative arts, be they of a spontaneous or premeditated nature, presupposes the presence of an audience. Like Fluxus, the Gutai advocated the superiority of conceptual art, or installment, as opposed to that of a stagnant art gallery exhibition, as many of their works existed often in the ephemerality of a single, fragile moment. The in situ birth of a new artwork was, in many regards, the most primordial of the group’s counter-cultural aspirations. Proportionately, this very same concept sustains 4am, wherein each singular performance can be projected to global stage through live streaming, unifying the audience and creator. Furthermore, by enabling viewers to record a reaction in real-time, all participants are invited to assume an active stance, analogous to that of a happening. In this regard, 4am incorporates Baiyon’s distinct nostalgic stimulus, the singular potential of new media and the very nightclub atmosphere in the search for a moment of affection, impulsivity and disinhibition.

To a great extent, the vanguardist attitude which the Gutai and other Japanese non-verbal artists espoused is vividly mirrored in this imperceptible space of action between the player/artist and the screen/canvas. The standard of pictorial gesticulation, in effect the concrete enactment of individual emotion, is thus coordinated by the liberating composition of arbitrary soundscapes; whereas neither picture nor the sound can be truly considered the essence of the trance-inducing abstraction. Baiyon's work converges with that of his radical precursors in their lifelong search for an evanescent ideal, capable of transcending time and technology.

Illustration source : official PixelJunk 4am website

This article is a repost of a 2012 article I wrote for my other blog, Post-Play.