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The artworks "Paintscapes" and "Alienscapes" are an artistic & theoretical research on the Nature's fractals, perceived by the viewer as Landscape Scenes. In their technological part, they consist of Digital (New) Media (3d animation / data visualization, music visualization, live visuals) and Analog Media (Watercolor & Inks). The artworks are also presented in the form of video screenings, AV performances, digital prints and original watercolor paintings.
The art works "Paintscapes" and "Alienscapes" explore the aesthetics of Nature's fractals (as natural chaotic patterns), the aesthetics of landscapes according to experimental psychology studies, but also the aesthetics of nature, aiming at nature’s acentric aesthetic experience, from a phenomenological perspective. The art works, in their technological realm deal with fractal landscapes created by New (Digital) Media (eg.: 3D animation or real-time image production) or even in “Analog” Media, according to abstract painting practice by J.Pollock. In particular, "Paintscapes" explore J.Pollock's dripping techniques, digitizes it, in its micro scale, and promotes it into a virtual three-dimensional landscape. J. Pollock's paintings with almost equal splashes of color proved to be fractal in nature, first by R. Taylor, followed by several studies of fractal analysis, with various methods on his work. Mureika et al., (2004), Coddington et al. (2008). R. Taylor explains how Pollock's paintings should be perceived and why: “Rather than a painting, perhaps Pollock’s fractal patterns should be viewed as ‘paintscapes’, analogous to the landscapes seen in Nature... His painted fractals are a visual display of the generic rules used by Nature to construct patterns”. R. Taylor (1999). Observing Pollock's paintings, the artistic question arises whether we could "penetrate" into a similar canvas of abstract expressionism and, as curious observers, explore and wander around, this new microscopic world. To observe from close its details, to take a close look at the mixes and color combinations that came from the chaotic laws of nature. To view rugged coastlines of color, to fly over blue mountains and red plains and to roam through desolate areas of white canvas.
Βecause both the creative nature and the visual nature of the two works are fractal and as their final form are presented in the form of landscape, the theoretical content of the works is largely based on the aesthetics of fractals, nature and landscapes. One of the goals is to explore the psychological concept of the landscape and to associate aesthetics of nature with evolutionary instincts in relation to experimental psychology studies on landscape perception, that is, the perceptual process that involves extracting information from a natural environment. Kaplan S. & J.S. Wendt, (1972), Kaplan, R., Kaplan S. & T. Brown., (1989) but also the use of environmental information, based on theory of refuge. Appleton J. (1975), up to theories based on emotional and subconscious perception of the landscape rather than cognitive, conscious processing of it. Ulrich, R.S., (1979).