Gen art eats fashion 2024 SS
23 Oct 2023100 EDITIONS
This fx(text) is about an adventure into the the fashion world with my generative art.
19 Dec 2022100 EDITIONS
In this project, I aim to discover inspiration for my own ink work. 山水, literally is mountain and water, that is landscape painting. As most Chinese landscape paintings are fictional landscape, mountains and waters are just literally and figuratively ink or no ink or some ink.
12 Dec 2022288 EDITIONS
What I was taught was disrupted, and grid studies left unfinished, and oh do we have a BINGO?
This is my 12th and final drop (*&^*) on fxhash. To celebrate my journey on fxhash, this is a work that builds on the first ever class I have written: class Calligraphy(){}. As I grow as an artist and a coder, my work has evolved. Some stuff stay the same, but there are still some much to learn. The whole community has been godsend, but there is one particular artist, I would like to make a tribute of this work to: Rudxane. Code can be copied, explicitly or implicitly. But this my own take across various of Rudxane's work and hope our taste is agreeable somewhat and that it is still me.
10 Dec 2022100 EDITIONS
This article presents GTX not through screens or prints. But to take the audience into the process of image composition and the calligraphy respectively, in quais-analog form of reading a book with aid of transparent pages. This can be seen as an partial catalog of GTX a collab between Thomas Noya and me. Hardcopy book design specifically for the view of GTX and was published along with my non-profit zine, Beauty, Love, Truth, 美善真, with an edition size of 200. Extended discussions on the calligraphy and our creation process are concluded in the appendix.
Nothing comes from nothing.
09 Dec 202246 EDITIONS
A calligraphy study on generative things of things.
09 Dec 202250 EDITIONS
A study into the dimensionalities of calligraphy.
20 Oct 2022100 EDITIONS
In my journey into generative art, not unlike Damo's crossing central Asia to China. The journey was full stimulation for my eyes, mind and heart. Just as Damo's sits, alone, in a cave near Shao-lin and meditate. I sit in front of my laptop reflecting my journey in generative art. I do not and can not code figuratively exact physical simulations with the digital. For me it is unforseen generative nature in gen art that intrigues me. I find unexpected results of letting code be as it is, rather letting it do exactly you say, a comfort moment of peace.
The makings of Ryoanji drop
19 Sep 2022108 EDITIONS
Ryoanji perhaps is one of the most interesting subject that I have thought about for a while. Ryoanji is subject that is the intersection of architecture, zen, composition, performance via chance operations. It encompassed what I have studied and created during fxhash beta, and is the most complete project I have produce to date.
jimi's fxhash beta dinner
17 Sep 2022100 EDITIONS
After creating my first 7 collections on fxhash beta, I needed a break. Not a break from creating, but a break from visual coding. I felt there was more to the artwork I couldn't code, or didn't clearly know what was just missing that tiny bit of expression maybe just a limitation of visual art. So decide to create a menu extending my first 7 collection in the 7 course dinner.
13 Sep 2022100 EDITIONS
This article is a diary about the intuitions in building my studio. Looking back at the aesthetics of my generative art, calligraphy, ink etc. now, I understood many of the how and why my home studio is built. In creating art, the art I created, creates me back. This article is not a static photo or article of a pretty (grunge) studio displayed in magazines. After dwelling in jimi's studio wen, works of art and thought process will get updated here as my studio grow old with me. As an experiment this article will contain my WIPs and ideas relevant to different ideologies of mine.
12 Koans: As If, Nothing–以似無
13 Sep 2022100 EDITIONS
Like Nothing,
Koans are dialogue between the self or collective so no conversation has no end nor no beginning.
Initially I was commissioned to write a poem or koan for a collector. With the specification:
emptiness. non-self. Substanceless.
Perhaps I am a poet first then a calligrapher then a generative artist.
Collaboration with Socrat.
12 Sep 202243 EDITIONS
Stepping outside of the tea house.
After minting my 3rd work Tai-an Tea house on fx(hash). It was winter dark and wet. I felt I wanted to explore outside of it. The Tai-an house itself, and the style of generative composition and the forms I had explored in the Tai-an Tea house work.
12 Sep 202229 EDITIONS
Tea ceremony, now served in generative instances.
The origin of today’s tea ceremony, “wabi-cha,” emerged as a counter-movement to extravagant tea parties hosted by social elites in the 15th century. As used in the term “wabi-sabi,” wabi, referred to the loneliness of living in nature, remote from society. “Wabi-(sabi)” has found a place in Japanese aesthetics. In wabi-cha, the tea house was itself a medium to the affirmation of life through making tea.
11 Sep 202253 EDITIONS
No mountain is not (like) a mountain.
In the compilation of Buddhist text Pointing at the Moon Catalogue (指月錄), Qingyuan Xingsi (青原行思), wrote the following:
「見山是山，見山不是山，見山祇是山。」
Seeing mountains are mountains.
Seeing mountains are not mountains.
Seeing mountains are just mountains.
11 Sep 202265 EDITIONS
An exploration of an ancient generative system.
One day I looked up Zhang Daqian’s (張大千) painting of lotus and pond. Daqian has painted over ten thousand lotus paintings, ten times his namesake, qian (千). Like all great artist, while their techniques or forms can change over time, sometimes even to the degree of categorically different genre, what I find to be recognisable and what I identify with is in their composition.
11 Sep 202246 EDITIONS
From 無門關 to 無淚觀
I started this work as an introspection to my comprehension on the book of Wumen Guan (無門關), the gateless barrier. A question posed by zen master, Wumen Huikai (無門慧開), to whether there was a gate, at a given barrier, where one would wish to pass? There were, of course, infinite many ways to compose such a paradox. Visually, a normal gate is a node at a point of a barrier with an entrance and exit. So I did some sketch with ink and brush.
