Major Motionpaintings

These motionpaintings are meant for large screen projection in a semi-darkened room (or in daylight if projector technology allows for vibrant colors and rich blacks) and continuous viewing.  Unless otherwise indicated, audio should be played low level and used as ambient sound.

Most of these motionpaintings are HD.  A few include new iterations of earlier multi-channel versions created in SD. 

To see a motionpainting, play the quicktime if available or click on the image to navigate to the Vimeo file.  To see more motionpaintings, scroll down.

MOM SAYS HELLO is a motionpainting that continues my explorations of traditional drawing & painting approaches with digital media.  This work is a template that requires Millumin software blending modes and Touch Designer processes to play the background animation without repetition.  It is meant for large screen projection and continuous viewing.  M.o.s., 2024.

ECSTAZY VARIATIONS QUARTET.  Top Left to Bottom Right:  #1, #2, #3, & #4.  Meant to be seen in concert; large screen projections and continuous viewing.  M.o.s., 2023-2024.

CUP OF COFFEE:  Motionpainting meant for large-screen projection and continuous viewing. M.o.s., 2024

CRAB APPLE FOR MADAME PERRETIER:  This work contains more ‘autobiographical’ elements than most anything I’ve done before. This is of little interest to me personally, because art isn’t about storytelling – but you can consider these elements as building blocks to a region I consider (as other artists have said), ‘beyond time and space’. In my phraseology, I would say the work is an aspect of ‘Now in Duration’; m.o.s., 2023-24.

Motionpainting to be used as background in layered work with oil paints. Meant for large screen projection and continuous viewing. “Work in progress”, m.o.s., 2023

ISABELLE CIRCONFLEXE is a ‘work in progress’ exploring ‘materiality’ & spatial constructs with various elements used in the creation of ISABELLE motionpaintings. M.o.s., 2021-2023.

De KOONING PARTICIPATION (White Version) motionpainting is meant for continuous viewing and large screen projection.  M.o.s., 2023

TARASCON BLOBS (homage to van Gogh’s On the Road to Tarascon) is a motionpainting meant for large screen projection and continuous viewing, m.o.s. – 2021-23.

 

PETTITE CONNERY VER 5 is a motionpainting meant for large screen projection and continuous viewing, m.o.s. – 2021-23.

PETTITE CONNERY (WATER SERIES), m.o.s. is a motionpainting meant for large screen projection and continuous viewing, m.o.s. – 2021-23.

LES DELBOS motionpainting continues my explorations with motion, oil paints, and interactivity (thru viewer interaction in movement) with Millumin & Max patches. M.o.s., 2023

ECSTAZY RED ROOF is a motionpainting meant for variable projection size and continuous viewing. M.o.s., 2022-23.

ANKOR (INTERACTIVE) is a motionpainting that combines various layers, oils, drawings, with interactivity. Meant for large screen projection and continuous viewing. M.o.s., 2023.

ENCORE X 2 is meant for large screen projection and continuous viewing. M.o.s., 2023

This motionpainting incorporates various layers that allow for changes in colorforms, thus challenging the traditional notion that a painting cannot ‘move’ and must remain ‘fixed’ to retain it’s import. M.o.s., 2023.

SEE-SAW motionpainting continues my explorations of viewer participation and ‘materiality’. In this instance, through the use of a stillframe projection on a wall, a clear see-through ‘canvas’ in front (off the wall), and a projection with media sourced from a Max patch that can be manipulated by a viewer. This work requires 2 projectors and is meant for large screen format and continuous viewing. M.o.s., 2023.

DeKooning Participatory Experiment-3 (NO FRAME) continues my explorations of viewer interaction in the creation of art/motionpainting (in this instance, through webcam and Max software). M.o.s., 2023.

“Canvas 2 (Blue Cloud)” motionpainting combines traditional oil painting practices with computer processes.  Note that when properly exhibited using appropriate software, the “bubbles” never repeat.M.o.s., 2022.

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) and OH COME ALL YE FAITHFUL – 3D EXPLODED VER 2 motionpaintings are meant for large screen projection and continuous viewing.  Both works continue my explorations of ‘materiality’ & ‘participation’ (in this instance, with viewers in the gallery or museum). Created with a combination of stillfframe artwork done in traditional manner, ArtRage software and video recording, the projections need to be fed by a computer with Millumin and Max patch. For more information, contact the artist.  M.o.s., 2023.

OH COME ALL YE FAITHFUL  motionpainting continues my explorations of ‘materiality’, ‘participation’, and an expanded ‘frame’ that includes wall, floor, and several projections. It is made for large screen projection(s) and continuous viewing. Although it is non-narrative in content, it contains it’s own history in ‘duration’. M.o.s., 2023

NOTHING WITH NOTHING (IT DOES MATTER) VER 2 – Motionpainting meant for large screen projection and continuous viewing.  M.o.s., 2023.

PAINTING IN MY STUDIO (WATER ALTERNATE VER-4) – Motionpainting meant for large screen projection (Epson Ultra short throw) and continuous viewing.  M.o.s., 2023.

A PENSIVE MAN – Motionpainting meant for variable screen projection (Epson Ultra short throw or Raspberry Pi) and continuous viewing.  M.o.s., 2022.

ECSTATIC NUDE (BLACK BLOB EXTENDED) – Motionpainting meant for large screen projection and continuous viewing.  This work continues my interest in a hybrid art that combines traditional painting with computer software.  M.o.s., 2022

SAVING THE APPEARANCES X2 – (formerly FINAL SELF PORTRAIT diptych), m.o.s.  This diptych continues my explorations in interactivity and materiality through webcam interface and the use of oil paint.  Meant for large or small screen projection and continuous viewing.  2022.

PARTICIPATORYART 1,2,3 – Motionpainting meant for large screen projection & continuous viewing.  Participation incorporates viewer through camera interface and Millumin software.  Audio should be used as ambient sound.  2022.

MAXFEB 21 – Motionpainting meant for large screen projection & continuous viewing.  Suggested size 96″ high.  M.o.s., 2022

JANUARY IN AUGUST (3 ITERATIONS):  These motionpaintings are meant for large-screen projection & continuous viewing.  Note that the middle motionpainting pays homage to Etienne-Jules Marey and his pioneer studies of time and motion.  They can be exhibited singly or as a triptych (see Gallery Simulations for example) separated by appropriate space.  Audio is meant to play as ambient sound.  2022.

2 EYES (YELLOW ME RED) – Work in progress.  All elements combined into QT for single projection. Suggested size 144″ x 144″ x 12″, M.o.s. 2022

2 EYES (YELLOW ME RED Ver.  2) – Two studio projections (front and rear) segment (work in progress). Suggested size 144″ x 144″ x 12″, 2022.  Audio should be low level (as ambient sound).

2 EYES (YELLOW ME Ver. 8) – Meant for large screen projection and continuous viewing.  M.o.s., 2022

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LINDA AT THE COOP Ver 2 – The second of two motionpaintings derived in part from an earlier work. Meant for large screen projection and continuous viewing. M.o.s., 2022.

LINDA AT THE COOP Ver 1 – Motionpainting derived in part from an earlier work. One of two versions. Meant for large screen projection and continuous viewing. M.o.s., 2022.

CORDOBA – Motionpainting meant for large screen projection and continuous viewing. M.o.s., 2021

WIPERS (Motionpainting – m.o.s.),  2021

STRIPED NUDE CUBED Ver 4 (Motionpainting), 2021

2 RECOMBINANTS (Square Version), m.o.s.  2020-21.

LARGE STRIPED NUDE Ver 3 (Motionpainting), 2021

STRIPED NUDE Ver 2 (Motionpainting) – m.o.s., 2021

MATISSE’S CHAIR – Gallery simulation of Motionpainting Triptych 05201X3.  Meant for large screen projection and continuous viewing.  m.o.s., 2021.

Left motionpainting of 05201X3 Triptych.  Meant for large screen projection and continuous viewing.  M.O.S.  2021.

Middle motionpainting of 05201X3 Triptych.  Meant for large screen projection and continuous viewing.  M.O.S.  2021.

Right motionpainting of 05201X3 Triptych.  Meant for large screen projection and continuous viewing.  M.O.S.  2021.

FEET & FINGERS (FOR CLAUDE) – 2020

FEET & FINGERS (FOR CLAUDE) – original version. 2020

VIS A VIS (11 – STAGE 3) – Motionpainting (one of four iterations) meant for continuous viewing and large screen projection.  All four iterations should be seen as a quartet (refer to gallery simulation https://vimeo.com/433406168).  2017.

QT SQUARE 2 SIDE PANELS, 2020-21

QT SQUARE (SEGMENT) – another iteration of QT SQUARE 2 SIDE PANELS.  2020-21

ISABELLE’S HAT – another iteration of Isabelle’s portrait.  M.o.s., 2021

VIS A VIS (CIRCLES) – Motionpainting (one of four iterations) meant for continuous viewing and large screen projection.  All four iterations should be seen as a quartet (refer to gallery simulation https://vimeo.com/433406168).  2017.

QUARTET FOR THE END OF COVID (left to right:  “Here’s Looking At You – #1 of 4”; “Here’s Looking At You, Dark – #2 of 4”; “Mauve – #3 of 4”; “Red Square – #4 of 4”.  Four motionpaintings meant for large screen projection and continuous viewing (they should be exhibited together and separated by appropriate space).  2020-21.  To see a gallery simulation, click here.

Each of the 5 motionpaintings (QT 1 thru 5) should be projected as contiguous works (placed left to right as seen by a viewer) and separated from each other in the following manner:  QT 1 from 2 and 2 from 3 each by a few feet; QT 3, 4, & 5 should be considered ‘one canvas’ and be contiguous.  QT 1 thru 5 should be played as continuous loops. Suggested combined dimension approximately 42 ft. wide by 8 ft. high. M.O.S., 2020

Each of the 5 motionpaintings (QT 1 thru 5) should be projected as contiguous works (placed left to right as seen by a viewer) and separated from each other in the following manner:  QT 1 from 2 and 2 from 3 each by a few feet; QT 3, 4, & 5 should be considered ‘one canvas’ and be contiguous.  QT 1 thru 5 should be played as continuous loops. Suggested combined dimension approximately 42 ft. wide by 8 ft. high. M.O.S., 2020

This motionpainting is meant for continuous viewing and large screen projection. 2018. Although my work exists in duration, most of my motionpaintings are not explicitly autobiographical. “Red Cross (with Meme Perretier)” is an exception: the audio relates an event that I witnessed when I was very young living in a small French town at the end of WW2.

The three motionpaintings above were created to be seen either as three wall projections or as installations mounted on floating platforms on a body of water (reflecting pool, pond, lake, etc.).  See virtual example below (on South Pond, Marlboro, Vermont) to get a feel for what these motionpaintings might look like in situ.

A ROW OF POPLARS – wide version. Note that some of the elements in this work were created in 640×480 format (projection should be kept to appropriate height & width), 2013.

Motionpainting meant for large screen projection and continuous viewing.  2013.  This “motionpainting” is another iteration of an older work I created in 2003 inspired by one of Jasper Johns’ paintings (“Painting with Two Balls” series) I saw during a major retrospective organized by Kirk Varnedoe at MoMA in 1997.