THE FUTURE BELONGS TO THOSE WHO BELIEVE IN THE BEAUTY OF THEIR DREAMS. -ELEANOR ROOSEVELT
art. That concept ignores the fact that this is all built on the hard-won skills of pre-digital art, and doesn’t take into consideration the entire new set of tools that is being created today. We are abso- lutely at a new inflection point in the study of art. Today’s technology stack is vastly different, en- compassing the Internet, scalable vector drawing tools, wide-format printers, the blockchain, and the beginning of artificial intelligence. This gives all of us in the year 2025 a far greater scope than our predecessors. For these reasons a new art term is warranted. My work and this new term need to be ethical and responsible. These new tools have the capacity to create and the ability to explain. If not careful- ly governed they can be used as a force of good or evil in the world. It is up to all of us and especially government oversight to keep it safe. Artists have found themselves, like it or not, at the forefront of this future. - Shoosty
Renowned art critic Donald B. Kuspit once stated, After a century of negation, it is time for affirmation. Essentially, he’s saying that modern art has become overly complex and obscure. We’ve reached a point where a simple object like a banana taped to a wall can be hailed as a mas- terpiece. It’s time to return to a focus on beauty and artistic expression. You can trace the roots of my style to Art Nouveau (1890-1914), where nature is mixed with ornate patterns. And to the Bauhaus which displaced this period in 1919 to apply art to industry. I coined a new term “Chromatic Fusion- ism” to describe today’s art movement. It blends the science of art, relying on modern technology with the need to humanize the experience. My art is entirely hand-made; it is not created with AI. However, I encourage AI for art criticism. The tools we have today were never imagined a 100 years ago and, if so, were considered science fiction. The closest term that describes it is digital
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