Gallery Simulations
The videos below give a facsimile of what my ‘motionpaintings’ might look like in a gallery or museum setting. If Ultra-Short Throw projectors are used, the work can be seen on a large scale and in more or less broad daylight (future advances in projection technologies will likely invite viewing in a totally lit space analogous to the gallery or museum environment).
Click on the video to play the gallery or museum simulation; click on the specific name/title of the motionpainting to view the artwork on my Vimeo site.
ECSTAZY VARIATIONS QUARTET motionpaintings simulation (segment), m.o.s., 2023-24.
ISABELLE CIRCONFLEXE and CRAB APPLE FOR MADAME PERRETIER motionpaintings (gallery simulation segment) are meant for large screen projection and continuous viewing. M.o.s., 2023-2024.
TARASCON BLOBS & PETITE CONNERY motionpaintings gallery simulation. These works are meant for continuous viewing and large screen projection in a darkened environment (daylight is preferred, but this is due to current technological limitations). Segment, m.o.s., 2023.
MALAKOFF TK 3 simulated installation requires three projections for the individual motionpaintings (one on each wall and one on the floor); the oil painting on clear acrylic (hung from the ceiling), and the black & white drawing on the wall behind the projection.
This work continues my explorations of ‘materiality’ and motion. M.o.s., 2023
“DeKooning Participatory Experiment-3 (NO FRAME)” Gallery Simulation continues my exploration of viewer interaction through Webcam and Max. M.o.s., 2023
SEE-SAW (Andersen & Max Patch – Ver 4 FINAL motionpainting explores aestehtic possibilities for enhanced viewer participation and ‘materiality’. This work is meant for continuous viewing and large screen projections combined and webcam with material elements – painting on clear acrylic, drawing, ArtRage iPad painting, with combined 3 dimensional forms. M.o.s., 2023.
SEE-SAW, Participatory Version (Gallery Simulation Segment). M.o.s., 2023. This motionpainting is meant for large scale projection and continuous viewing. SEE-SAW continues my explorations of ‘materiality’ & ‘participation’ (in this instance, with viewer(s) movement in the gallery or museum). Created with a combination of stillfframe artwork done in traditional manner with oil paints, ArtRage software and video recording, the projection needs to be fed by a computer with Millumin and Max patch. For more information, contact the artist.
OH COME ALL YE FAITHFUL 3D ver 1 (Gallery Simulation).mov. This motionpainting continues my explorations of ‘materiality’ and an expanded ‘frame’. For another ‘expanded’ 3D version please see video insert to the right. M.o.s. 2023.
OH COME ALL YE FAITHFUL – 3D EXPLODED Ver 2 (GALLERY SIMULATION SEGMENT). This gallery simulation reflects a new direction I’ve been exploring for some time. The desire to move painting into a spatial environment that allows for a more ‘sculptural’ approach to traditional art-making. M.o.s. 2023.
PAINTING IN MY STUDIO (A PENSIVE MAN, Ver 2) & NOTHING WITH NOTHING (IT DOES MATTER) motionpaintings. Meant for large screen projection and continuous viewing, these two works continue my explorations of ‘materiality’ and ‘stillness in motion’. Both works m.o.s., 2023.
MAXFEB 21, m.o.s., 2022. Motionpainting meant for large screen projection and continuous viewing.
JANUARY IN AUGUST (3 ITERATIONS), 2022. Although this simulation is m.o.s., two of the three works have audio. Note also that the middle motionpainting (originally titled “Je Vous Aime”) is an homage to Etienne-Jules Marey, c. 1880.
2 EYES (YELLOW ME RED) m.o.s. 2022 – Combined files, gallery simulation segment (work in progress).
Gallery simulation segment of 2 EYES (YELLOW ME), m.o.s., 2022. Meant for large screen projection and continuous viewing.
FEB 21 – Gallery simulation of work created in SD in 2010. Audio should be used as ambient sound or not at all.
LINDA AT THE COOP Ver 1 (on left) and LINDA AT THE COOP Ver 2 gallery simulations. To view individual motionpaintings, navigate to the “major motionpaintings” menu. M.o.s., 2022.
‘MARA WILLIAMS’ (left) and ‘MICHEL MOYSE, EDGE’ (right). These motionpainting fragments are derived from original motionpainting portraits combined and manipulated with Max’s Vizzie processes. GALLERY SIMULATIONS, 2021.
‘LINDA MOYSE’ (left) and ‘JOEL BERNSTEIN’ (right) Motionpainting Fragments (Max/Vizzie versions derived from original motionpainting portraits (see top menu). GALLERY SIMULATIONS, 2021.
‘DAN SABLE’ (left) and ‘SADIE HOLLIDAY’ (right) Motionpainting Fragments (Max/Vizzie versions derived from original motionpainting portraits (see top menu). GALLERY SIMULATIONS, 2021.
‘CA ME DEPASSE’ (left) & ‘CORDOBA’ (right) Motionpainting Fragments – GALLERY SIMULATION, 2021
WIPERS (Gallery Simulation) m.o.s., 2021
STRIPED NUDE CUBED (Ver 4), GALLERY SIMULATION, 2021.
BLACK QUINTET, GALLERY SIMULATION. 2020-21.
5th MOTIONPAINTING (OF “5 QT MOTIONPAINTINGS”), GALLERY SIMULATION.
“5 QT MOTIONPAINTINGS” GALLERY SIMULATION. 2020-21.
3rd MOTIONPAINTING (OF “5 QT MOTIONPAINTINGS”), GALLERY SIMULATION. 2020-21.
3 QT (3 MOTIONPAINTINGS) GALLERY SIMULATION SEGMENT. 2020-21
“2 RECOMBINANTS” GALLERY SIMULATION. 2021
“QT SQUARE 2 SIDE PANELS” on left; “2 RECOMBINANTS” on right. 2020 – 21. GALLERY SIMULATION.
LARGE STRIPED NUDE – Ver 3 (GALLERY SIMULATION), m.o.s., 2021
STRIPED NUDE – Ver 2 (GALLERY SIMULATION), m.o.s., 2021
Gallery simulation of 05201X3 (renamed MATISSE’S CHAIR). Meant for continuous viewing and large screen projections. m.o.s., 2021.
“Isabelle’s Hat” on left and “Feet & Fingers (for Claude)” on right. Motionpainting simulations. 2021.
“She Championed…” motionpainting is meant for large screen projection and continuous viewing. Depending on size of projection, two ultra-short throw projectors may be necessary. Vimeo has audio. 2021.
John Serkin Portrait (Vizzie Gray Version). Meant for large screen projection in semi-darkened space or daylight if projection allows for deep blacks. Audio should very low level and used as ambient sound. 2021
From left to right: John Serkin Portrait (Pale Ver 2), John Serkin Portrait – Original, John Serkin Portrait (Vizzie Final), John Serkin Portrait (Yellow BK m.o.s.), John Serkin Portrait (Ver 1 – Face Layer). Note that the size for these 5 motionpaintings is variable (i.e., each can be viewed as large screen projections, or on appropriate tv monitors. For exhibition purposes, note that the “John Serkin Portrait (Pale Ver 2)” is created to incorporate a ‘live’ video feed from a Raspberry pi (or similar) camera aimed at the ‘room/viewer’ and integrated in the central square through the use of Millumin software.
John Serkin Portrait (Ver 8 Disparate – White BK). Meant for large screen projection in semi-darkened space or daylight if projection allows for deep blacks. Audio should very low level and used as ambient sound. 2021
John Serkin (Ver 9 Alternate). Meant for large screen projection in semi-darkened space or daylight if projection allows for deep blacks. Audio should very low level and used as ambient sound. 2021
On left: John Serkin Portrait (Ver 9 Alternate), on right: John Serkin Portrait (Ver 1 – Face Layer). Meant for large screen projection in semi-darkened space or daylight if projection allows for deep blacks. Audio should very low level and used as ambient sound. 2021
John Serkin Portrait (Vizzie Gray Ver). Meant for large screen projection in semi-darkened space or daylight if projection allows for deep blacks. Audio should very low level and used as ambient sound. 2021
From left to right: “Vis a Vis (Circles)”; “Vis a Vis (11) Stage 4”, “Vis a Vis (16)”, “Vis a Vis (11) Stage 11″. These motionpaintings are meant to be seen as a group in large format using Ultra Short Throw projection. Audio is an important part of these works and should be played at a low ambient level (audio in “Vis a Vis (Circles)” should be featured).
Christopher Andreasson motionpainting portraits (Gallery simulation) – wide version on left, vertical version on right. 2020.
Gallery simulation – left to right: Tony Checchia, 2012; Joel Bernstein, 2019.
Gallery simulation – left to right: “Young Man Sits (single screen)” 2008; “Michael Hanish Portrait” 2018
Gallery simulation “Quartet for the End of Covid”. left to right: “Here’s Looking At You”, “Here’s Looking At You, Dark”, “Here’s Looking At You, Mauve”, “Red Square”. m.o.s. 2020.
Gallery simulation #1: “Red Cross (with Meme Perretier)” & “Linda Moyse Portrait (diptych)” motionpainting fragments.
Gallery Simulation #2: “Blanche Honegger Moyse” on left; “Mara Williams” on right
Gallery Simulation #3: “Mamonet (Self Portrait)”, “Dan Sable”, “Carol Wincenc” motionpainting fragments.
Gallery Simulation #4: “SlamLink”, “Self Portrait TIBETAN”, “Just Kidding”, “Sadie Holliday” motionpainting fragments.
Gallery Simulation #5: “SantaFe”, “Toby Frank Portrait (single screen)“ motionpainting fragments.
Gallery Simulation #6: “Intentions (Single Screen)”, “Green Ivy (3 Screen)”, “Same As Not” motionpainting fragments.
Gallery Simulation #7: “Waive Goodbye” & “Spring, 2005” motionpainting fragments.
9 MOTIONPAINTING (2002) – GALLERY SIMULATION. To view the motionpaintings, access the OLDER MOTIONPAINTINGS (SD – 2002) page.