Painting as Multitude is an artistic collaboration with Shaw Gadi Raz as Photographer and Image designer.

Core
Painting, in its historic nature and form, converges into one image; yet, incorporating technology and cooperative intelligence, allows to expand and examine the medium’s borders beyond the exclusivity of the one image.

Ground
We are at a crossroads, in the ‘middle’ of radical transition. We are crossing over from the development of intelligence, based upon designed constraints, to development of intelligence based upon a complex and rich fabric of opportunities within soft and active reality. In soft and active matter there is no privileged identity, neither an a-priori privileged moment, nor a single-privileged image. There is however an ambiguous zone, there are fuzzy landscapes, non-linear intuitions and bifurcating events, so we need to develop an intelligence that curates becoming as a multitude.

Structure
Painting as a Multitude is the technique I am using to explore the moods and tides of emergence, where I extend the act of authoring upon technology and collective intelligence, in order to release the fixed artistic constraint of the single image, into a multitude of moments and scales captured in a dynamic evolution. Extending the Artist’s sphere of action-ability through technology and collectivity is a way of radically changing the conditions and possibilities of the painting. With technology, painting becomes a continuous event and a Rhizome-like phenomenon.

Process
I usually begin with a small work on paper, using liquid materials (colors) such as ink, glass paints and acrylic. When working out a composition and laying out these materials, I take account of the chaotic process. In the process, the paints do not merge entirely but maintain their disparate identities, while the chemical interaction between the colors creates forms and processes, which generate images that retain fractal qualities.

Technology is incorporated into the works through two main techniques. The first involves the use of a 3D scanner on the painting, to extract a high-resolution digital image. The out coming image provides the basis for a process of selection, to capture (through a manipulation of scales) a series of other images, that lie locked in the base painting. The images extracted are then finally blown up and printed on various mediums.

The second technique involves the usage of a digital camera during the painting process, The camera exposes and briefly captures the images in the making that subsequently unfold into a resting point in time. These images (that are usually lost without trace) take form while the painting process is taking place, in various areas of the work, as a result of the interaction between the different painting materials.

At the end of the process, the work comes out as a multitude, a series of images that are both a plural form of the base state of the painting and also independent images of their own accord.

In the process I found myself attending a threshold of mind, between a creativity that unfolds through the designed constraint of a privileged image, and a creative process that carves its way within soft and active matter where multitudes of opportunities co-emerge.

Long-Shot
Today, the act of painting is an open-ended technology. In opening itself to a network of technological extensions and in augmenting the author (artist) into a web of interactions, painting is constantly enabled to re-expose its open ended potency: painting as a technology of articulation, signifying and negotiating at the border of visibility, with a multitude of images of intelligence.

Umwelt
Umwelt is the idea that we blindly accept the reality of the world around us. “It would be useful if the concept of the umwelt were embedded in the public lexicon. It neatly captures that idea of limited knowledge, of unobtainable information, of unimagined possibilities.” David Eagleman, neuroscientist

• Norimichi Hirakawa – The Irreversible
• All
• Carolina Trigo – Curtain