A Step Toward Peace
Destruction, decay, devastation, disintegration. These are words that apply to things that once had form, structure, and solidity but have
fallen from grace. But if these things had never been refined in the first place the very same arrangement of atoms would appear restful,
pleasant, perhaps even lovely.
Jovadre knows no prejudice when choosing his subjects for their innate balance of form. But there’s also a rebellious side to him
that likes to leave a vestige, a small clue that this thing of aleatoric beauty was not what was originally intended. Jovadre’s work
challenges the viewer by asking: Can you look beyond what you know about this from the past, and see it for what it is now? If so, now
can you do that with your fellow man?
Tell it to the judge!
"Oh no! that lousy paint job on my boat is peeling off!" "No man, a zygote Godzilla is playing patty cake with a hyperthyroid seahorse."
"Ew! These jeans have gotta be thrown out. They've been on the back porch all summer getting moldy." Dude, that's a coelophysis skull
preserved in brine for over 12 million years." “Oh for the love of Mike! Look what your transmission gears did to the finish on the utility
sink!" "Nuh-uh, those are Hieroglyphs I swear."
Mike Cable is one of those photographers whose camera has a wild imagination. He sees things in a way you and I would never
even dream things and he uses his camera to produce hard evidence that two laughing centaurs impaled your garage door with their
Impressions of our aleatoric universe
Whereas most aleatoric art is created by nature, Anne B. Schwartz derives her palette from nature and depicts the earth's
geological elements—raw minerals and uncut gems in their natural state, the cosmic elements that constitute our universe and the
planets with their gaseous swirls and roiling atmospheric storms. Her work also captures the colors and shapes of the distant nebulae
that contain the stardust from which all life originated. Whether we speak of her impressionistic aerials or densely featured metallic
surfaces based on precious metals found in cave walls, Schwartz’s paintings evolve over time and are always in flux as she adds layer
upon layer of texture and color until the amassed material conveys the awesome power and scope of the heavenly bodies, or the beauty
and richness of rare earth.
Even his name suggests aleatoric art
Mike Bloom is an aleatoric artist in the truest sense. He sets the stage (the canvas) chooses the players (the colors) and then
lets them do what they will. Gently cajoling or influencing the paint rather than trying to dictate its every move, he achieves a result that no
traditional painter would ever be able to duplicate. The human mind doesn’t make design decisions the way nature does; nature is
illogical and illogic is rare and beautiful. His name is a double aptonym: Bloom as in the realization of a flower’s potential—the
movement in his paintings suggests the opening of petals to embrace the sun. Or, Bloom as in Ka-BLOOM!—the sound of an explosion,
which is what many of his paintings do, explode into a massive conflagration of scintillating color or starbursts in the night sky.
Wearing your art on your sleeve
A body of work that is ancient and primitive, yet innovative and avant-garde, will always be timeless and relevant. Apparently
circumnavigating the limitations of current aesthetic propensities in the art world, Kseniya Nelasova—painter and textile
artist—unites the canvas and the art to create a natural relationship between form and function. This is the formula by which aleatoric art
eliminates the possibility of being pretentious, which is a primary factor in its appeal. References to tribal African art, ancient Egyptian
relics, animal pelt apparel of the Andes and Tibet, right along with modern high fashion and a touch of art deco, give Nelasova's work a
cross-cultural appeal by speaking the universal language of metaphor that is the basis of all forms of art at its highest level. Weaving the
fabric of time into an infinite circle by invoking spirits of antiquity while maintaining a prophetic vision is the basis of a phenomenon that
has historically brought about the transfiguration of folk craft to the higher spiritual station of fine art. Kseniya Nelasova offers us a literal
example of that phenomenon in effect.
One of our newest members is Lana Sokoloff. Her massive abstractions defy the very concept of traditional art by breaking all
the rules with such brazen chutzpah that she’s come full cycle and is garnering considerable respect and acclaim. Her bravery with paint
is nothing short of heroic and the scale of her work inspires words like “epic” and “monumental.” By consummating her sisterhood with
nature during the application of paint to her canvases, natural forms begin to coalesce when you least expect them. At a glance you see
a figure or a face or a butterfly or an alien space creature, but upon subsequent inspection you realize these were not solely the products
of an artists mind. Something else had its influence on these masterpieces. Lana Sokoloff, an aleatoric artist in the purest sense, had
the daring to trust that something else and the results are something else indeed.
A visionary at whom we can only stare agape in wonder
Aleatoric art is at its ultimate pinnacle of excellence when the planets align in harmonic convergence and the cosmic energy of the
universe is focused in the precise coordinates so as to invoke the divine spirit of the celestial spheres and some guy blows up sheet
metal balloons with a garden hose. But only when that guy is Andrew Schrock, an extraordinarily talented master weldsman and torchist
who has devoted his life to bringing this magnificent art form to the world. Schrock's precedent setting creations come to fruition in his
state-of-the-art studio workshop behind the old abandoned Pep Boys where one can find the artist almost any hour of any day deeply
immersed in his most current project, and about 6 inches of standing water. The very same water whose awesome power provides the
driving force behind blowing these things up.
A patient stalker of moments
In a universe of infinite possibilities, even amidst confusion and chaos, there is an equal chance for harmonious resolution to occur—if
only for a fleeting instant. Imagine if your perception was so acute that you could divide every thought an infinite number of times and
observe the process of thinking itself... You might discover, within every thought, one instant in which you were a genius and in another,
insane. And what if you could see, in every moment, every possibility, and had the time to choose the right one.
Stoffel De Roover's smoke art photography transcends the limitations of time and space to effectively capture these elusive
moments and allow us to appreciate what, otherwise, would have been lost forever in an endless precession of moments in transition.
He will stake out a billow of smoke and, with laser precision, ambush the ephemeral gauze at that precise moment when it unwittingly
does his bidding.
Allowing the art to find it’s own path
The aleatoric aspect of Lorene Anderson’s current series of abstract paintings lies in the methods by which she applies her
paints and mediums. Anderson’s experiments involve controlling only the angle of repose and allowing gravity to guide the paints
movement in more subtle ways in order to create a more organic effect, often resembling nerve networks or tree branches.
Studying how mediums of various viscosities and solvent bases react when mixed or held in colloidal suspension gives Anderson
control of how colors either blend together and feather, or repel each other causing webbing or marbling effects. Her subtle use of color
and subdued tonal values enhance the effect by suggesting a more natural artistic impetus behind the designs and forms, and conveys
freedom from the characteristic human brush stroke produced by linear intention.
Art exists, the artist brings it to our attention
Russian born Ciro Totku resides and does his work in Cambodia. The incidental detritus and trivial minutia of his environment
provides an endless source of inspiration for Totku whose clean and minimalist style relies on simple forms and textures of a calming
and meditative nature to set the stage for a focal point that is often subliminally implied. Unlike most other aleatoric art, Totku’s work
initially conveys a serenity that is immediately apparent, yet there’s an underlying element of unrest and burgeoning upheaval looming
just beyond sight, from which the viewer finds a precarious sanctuary in the symmetries of his solid open fields of abstract context, only
to be pierced by sudden surreal or jarring representations. Using the medium of photography, Totku reaches out from the confines of
our superficial dimensions of perception, and finds art where it lies dormant and hidden.
Have you noticed the world looks like this?
“Evolutions greatest hits.” “Nature and technology lose themselves in each other.” “Explosions in a pigment factory,” “Look it’s a...Wait,
no it’s not.” David Lancaster's artworks both defy descriptions and inspire them. As celebrations of color, texture, emotion, and
energy, they bring light to the eye in an inarguably joyous way. His pieces create a sense of continuation and evoke curiosity by implying
what is beyond the canvases edge. His nature photography seems to zero in on the essential moments in a landscape to suggest its
entirety. Or create a subliminal focal point by capturing the movement of the subject while only implying its particulars. “Portraits of wind.”
“The jagged edge of a graceful curve.” “A look inside the mind of a flower.” I could go on all day—or until David Lancaster closes his
studio for the night.
Raku In the Tradition of Nature
Normally, nature does the roughing in and the sentient being applies the finishing details. Beth Holt seemingly reverses those
roles as her raw forms appear to have been effortlessly squeezed out of one hand in a single motion while the finishing line work and
minute details have the random serendipitous quality of a perfect snowflake or briar gnarl only the maternal source herself could have
rendered. Her ceramic pieces inspire sheer delight with their perfect simplicity and graceful balance, while her glazes and brushwork
exhibit a rare gift for color. These timeless artifacts could have been the yield of an archeological treasure trove, but Holt forms each one
with the sure-handed precision of a sorceress and the quiet humility of a shaman.
Can you say, "Unbefreakinlievable?" because you may need to...
Cory Hunter's work has fire and electricity. He also uses them as tools for painting. Vivid, vibrant colors are, not exactly applied,
but more cajoled onto his substrates in a pollack-like fashion and then rigged with wires to be arc welded into fractalicious tree-like
formations with gnarled branches extending desperately to nowhere. But he isn't finished yet. Scraping and chipping at the burnt
striations produced by he and his destructive partners, Cory Hunter fine tunes them into completely unexpected images that no artist
alone could conjure. The great extremes Hunter goes to to devise these brazen and jarring works is reflected in the stark, ghastly
pockmarks, jagged crevices, and gaping chasms which he has cavalierly (in a maniacal mad scientistic rage, one would think)
splattered with colors that range from gleeful to sepulchural. In contrast to Cory's genuinely mellow personality his work is best
described by the sincerely sarcastic, rhetorically ironic, opposite-implying double-negative, "No he didn't!"
Details from a celestial body of work
There’s nothing unusual about paving stones and rock slabs used for tiles. But if you think about it, what exactly are you seeing when
you look at a cross section of something hewn from a solid rock? You’re looking at millions of years, possibly billions, as solid stone is
primordial. If we are to believe that nature is capable of producing art, then it certainly would have done it in places as old as the universe
itself. It certainly would have done it during the time when the universe was forming.
It took Russian photographer, Tsvetan Chetashki to realize this and that’s why he resurrects masterpieces that have
remained hidden deep within the material of which our planet is composed. What you will realize when you look at Chetashki’s amazing
yet delicately serene offerings is that the very earth itself is in fact an enormous ball of solid art.
Where was who when what wondered why?
The weightless amorphous constructions that emerge from the mentality of Zoran Zugic have all the characteristics of figurative
representations but to identify them one has to discard so many assumptions that the reality from which context is fabricated starts to
disintegrate. Having taken the concept of random association to the level of incongruous intimacy, Zugic groups parts of things that may
have once been something, but what they are now defies the very concept of “thing.” Zugic consistently comes to within a fraction of a
unit of measurement to rendering something recognizable and then veers off in another direction repeatedly until he arrives at the
incomprehensible mass that constitutes his subject. This ability to deny the senses a resting place acts as both a visual calisthenic and
a lesson in acceptance of the transitory nature of everything. When we don’t know what we wonder, we wonder why we wonder what we
Copies of Nothing
Intertwined and twisted like a mobeus strip gone astray, the swooping of a swallow, or the razor wing of a bird of prey angling in the
wind. What would that shape look like? Don Frost describes such things with sensual sculptures of interminable turmoil.
Hanging weightless in the suspense of motionless momentum these metallic metaphors circuitously mutate through trajectories of
dizzying complexity yet never lose continuity. The materials used by Frost range from static solids like woods and metals to two part
polymers and resins that change from liquid to elastic to plastic over durations dictated by chemical reactions. But every intermediate
stage is an opportunity to discover how much more he can imagine. Don Frost finds pure joy in this process and thus the fruits of his
imagination are a joy to behold.
The scars of a battle between man and his environment
The patterns of erosion and decay that occur when nature taketh back what she hath given us is where Howard Pugh finds his
expression. As is so with most aleatoric visions chance plays a key role, but the subject of this artists work is found where man made
structures are reclaimed by the elements. A section of oxidized or weather-worn steel wall; semi-regular cracking patterns in sun-baked
paint that seem to scale-down like fractals where the coating thins; details of abrasion patterns or dendrites forming in the fissures of a
shattered pane. Pugh seems to mock his own species for trying to create things of permanence out of matter with no such intention. And
his photographs suggest the tension and struggle between our desire to control our environment and natures insistence on returning it
to it’s original state—the disorder that prevails after the dust settles and all is at rest.
Roswell, New Mexico or Chuck E. Cheese ?
Who knew such mysterious and terrifying creatures lurked deep within the unfathomable world of your kitchen cupboard. No, that wasn't
a rhetorical question, and the answer is Courtney Hoskins. Her startling and surreal photographs look like scenes from
science fiction movies, or space probe satellite images from NASA, yet the objects she uses in her work were found around the house,
heated to temperatures equal to that of the surface of a strike-anywhere match and photographed through a polarizing filter. Hoskins
taps into an aleatoric universe through the use of one of the most powerful supercomputers on the planet: her mind, and has mastered
the software application used by every creative genius that ever lived: Imagination. Many people have put cellophane and plastic cutlery
in a toaster oven, but all they did was ruin their dinner and set off the fire alarm. When Courtney Hoskins does it, aleatoric art is served.
Catching nature in the act
The uncanny ability of liquids to endlessly morph into random free-flowing formations, without ever repeating the same pattern twice is
due to the short-range structural regularity of liquid atoms which are semi-organized in bundles that move in relation to each other.
When liquid becomes airborne, surface tension interacts with air pressure and gravity to give the formations a continuity which, to the
artists eye, is analogous to the thickness of a brush stroke, or the resolution of a digital image. Through a mastery of high-speed
photography, Martin Waugh freezes time—effectively sculpting water into tangible forms of surprising precision and symmetry—forms
that otherwise occur too briefly for the eye to observe. By harnessing the potential of natures fundamental relationships between water,
air, gravity, and time, the artist offers us images of astounding aleatoric beauty and grace.
A macroscopic pond will yield an aleatoric fish
Stefan Beyst’s circumspect approach combines the theory, philosophy, and history of art, with an understanding of the connection
between art and all things in life, from love and ego, to progeny and prophecy. Perhaps that’s why his images compel us to abandon
preconceptions about what we are seeing, thus rather than see what we have learned these optical frequencies represent, we simply
see the colors, shapes and contrasts which our eyes truly receive. In this way the artist bridges the gap between creating and
discovering, making the work an aleatoric collaboration between the artist and his environment. Beyst’s digital photography insists we
discard assumptions as to “what thing this is, and what it means to us,” thus shifting our focus to the artistic qualities present in all
Bond with alloys, nature does the rust
Around the center of the periodic table J.B. Bond finds the elements that inspire his heavy metal urges; the hard metallic
substrates he uses extreme temperatures and immense force to manipulate in the creation of his stately and graceful artwork which
appears both ancient yet timeless in form and finish. A contemporary fine art blacksmith/metallurgist, Bond uses recycled scraps of
anything from bronze, copper, and aluminum to stainless, carbon, and mild steels, heats them to white-hot and power-hammers them
into submission before plunging them into ice water to contrast hand-forged, organic-looking finishes with the geometrically precise
and elegantly orthogonal designs of his wall hangings and floor sculptures. This earthy, hand forged, almost medieval quality that
characterizes his work is what galvanizes J.B. Bond's place in the Movement.
Journeys through Urban Aleatoria
Italian born painter/photographer, Nicola Parente, combines acrylic, ink, and charcoal powder to infuse dense shadows with
hidden hues and moods that emerge through subtractive striations. Positive and negative space are as interchangeable as joyful and
foreboding imagery when his characteristic urban/industrial tones become petrified forests of movement and depth seen through a
tapestry of dappled light, or a teeming cityscape of bold and severe contrasts suggesting we are looking through the enhanced-sensory
technology of some science fiction alien. The movement of Parente's tools through his medium become the subject of his pieces when
the byproducts of the creative process overshadow its conscious mechanisms. Elements of stark, cold, or harsh association convey
warmth and subtle beauty in Parente's hands as he brings order to chaos by recognizing the consistency in the unpredictable, the
reliability of uncertainty and an understanding of the universal constants that guide all things with exacting precision.
Automation of Chance
Fung Kwok Pan is a rare combination inventor, scientist, and artist who uses the algorithms of accidents, the nuances of
nature, and the formulas of flukes the way a mason uses mortar, and creates interfaces for intimate interaction with the laws of physics.
By demystifying processes such as phyllotaxis (plant structures) and triangulation (golden rectangles) he opens new doors for the
creation of aleatoric art, and his concepts span an even broader scope of applications. Finding the intrinsic beauty in failure, Fung
epitomizes the Eastern philosophy which equates disaster with opportunity. But his work is unique in that his inventions make the
creative process available to all by way of the worlds first inter-active aleatoric generators.
Digitally Orchestrating Physics
Mark Stock’s work is to aleatoric art what virtual reality is to, well, reality. Extremely complex fluid dynamics simulation software
capable of generating algorithms for multilayered patterns of interaction between physical forces allows Stock to create startling
images of the surprisingly organic yet surreal quality which characterizes his unique brand of aleatoric art. The appearance of water
boiling, for example, is a result of the effects of viscosity, inertia, baroclinicity, combustion, heat transfer, surface tension, reflection, and
refraction, among others, all engaged in an elaborate ballet of interaction. Mark Stock choreographs these physical forces in
simulation, often experimenting with combinations that could not occur in the physical universe. By digitally imaging the resultant
patterns Stock shows us forms that appear natural, yet we would otherwise never encounter in a million years of observation.
In a digital realm where computer generated 3 dimensional objects forever strive to be life like, Victoire strives for no such thing.
Apparently unapologetic about her disinterest in physical reality she dashes our expectations to the orthoganal rocks in her surreal,
multi-dimensional cyberscapes. Her facility with the software allows her to suspend time, transcend space, and render matter in states
between gaseous and liquid, liquid and solid. If she goes much further we may find ourselves being drawn into a cyber event horizon
from which there is no escape.
A Lighthouse for the Muse
In a state of clarity and wonder Richard Jansen relinquishes his preconceptions to chance and acts as a messenger for his
muse. Responding only to his deepest self and the concatenation of visual stimuli created by the painting process, his hands move the
tools and paint in reaction to his subconscious. Bold, raw, percussive strokes juxtaposing delicate refined movements within the
medium reflect Jansen’s state of mind rather than his directed visualizations. The results are not only vibrant and beautiful but pure and
essential depictions of the universal metaphors of communication.
If a painting of Richard Jansen’s were trying to describe sadness it would simply burst into tears.
Carrier of the Aleatoric Torch...
Finding anthropomorphic manifestations within the uninhabitable hell of a conflagration, seeing serendipity in incendiary
circumstances is Jeff DeRose's forte. But he’ll find figurative fertility in subzero frigidity with equal dexterity. Within the polarity
obtained through facility with extremes, DeRose finds a state of artistic equilibrium. His sculptures are driven by a fascination with the
essence of form, stripped of its trivial affectations. His work is deeply rooted in philosophy, and through the processes of nature he
sees the embodiment of what he believes. In a sense, DeRose is an Aleatoric Prophet, Sooth Sayer, seeker of truth, and discoverer of
evidence that in all stages of existence: birth, life, destruction and death, there are elements essential to the beauty of the whole.
A different kind of aleatorician is Mark Weber in that the element of chance is in his subject matter rather than his execution.
Against dramatically unlit backdrops scraps of detritus become stately icons fraught with jarring symbolism and incongruous
importance by virtue of the excrutiating precision and detail with which Weber renders them. Using the classical techniques of the
Dutch and Italian masters Weber achieves what can best be described as photosurrealism by hyper-contrasting vividly lit foreground
imagery with mysterious shadowy depths that appear draped in a dream. After seeing his latest body of work Special Intentions you’ll
never look at a discarded snarl of twisted wire or a splintered hunk of driftwood in quite the same way.
Using an element that has historically been associated with art since the discovery of the umbers and siennas, raw and burnt,
Isabel Pons Tello rescues a scrap of forgotten industrial iron from torture by oxygen and gives meaning to its suffering. In a
kind of symbiosis Pons Tello and her feral ferrous collaborate on a masterpiece born of the passion and culture of the former and the
delicious disintegration of the latter. Acrylic resins and minerals also play a part in the birthing of her work but her profound respect for
decay and it’s ability to create by attrition what no living thing could with intention is what earns her the right to this remarkable marriage
between mammal and metal, and their aleatoric offspring.
Sam Shendi makes an audacious statement about art that counters the notion that “It's not art until you finish it.” One could say
the opposite is true of Shendi's minimalist objects. They appear to be accidental byproducts of some elaborate process undertaken to
produce a thing wholly unrelated to the art he is presenting. If one were to enter his studio and observe him meticulously applying
perfect high gloss finishes and precise details to one of his sculptures one would invariably be compelled to ask, "what is it?" And that
is when one will know that Sam Shendi has once again proven the old adage, “True innovation does not exist until it is given the care
and attention it doesn't yet deserve.” Well, it could someday be an old adage. Born and raised in Egypt and trained in monumental
architecture, his work employs much the same principals of divine proportion as did the great pyramids of his homeland. And for all we
know they may have been finished in bright primary colors as well.
Point of Departure
When an artist’s technique fulfills the demands of his muse he is ready to present his work to an audience. His execution skill and the
result of his tenacity and discipline constitute the admission fee for consideration but his personal slant, the effortless part of his work,
is the part that differentiates him from his peers.
Newel Hunter uses his skills as the point of departure to embark on a far more mysterious and exciting artistic adventure.
Leaving the itinerary in the unpredictable hands of fate ensures that each of his creative explorations will transcend his technique.
Allowing the inertia of his bodily motion to navigate his hand-made tools to their destinations frees up his mind for more useful artistic
pursuits than self judgment or comparitive estimations of virtue. He becomes the vehicle rather than the driver yet his personal slant
still echos across his canvases.
Quantum Aleatoric auto-bio-art-ist…ism?
Aleatoric means to involve the element of chance. But Jorge Rojas wasn’t content to simply subject his art to chance, he
exposed himself to it. In a recent Miami Gallery exhibit Rojas melded quantum theory with aleatoric art by building himself into a 14‘ x
14’ cardboard box and making the observers of his art the unpredictable third element that altered the outcome of his explorations into
cause and effect. Being the effected subject of his own art 24/7 had presented certain challenges that would be of little concern to
ordinary art, which, by the way he does as well. Yes Jorge Rojas is no stranger to traditional mediums such as sink strainers,
dictionaries, various anatomical charts and sandpaper. Okay, maybe not traditional, but with an aleatoric artist who uses himself as his
medium you’ll have to bend all the rules a bit…okay, a lot.
Here is a thing that does what it does because it is the thing that it is.
Things do things. Certain things do things in certain ways. Under some conditions certain things do things in certain ways sometimes.
lf you were to document certain things doing the things they sometimes do under certain conditions in certain ways by making them do
those things on a surface that would record each of the things those things do, you would be doing what
Chris Platt does...sometimes...but we're not certain. Turns out those certain things do the things they do in a way that is beautiful.
They have to because they are the things they are doing what they do. And Chris Platt watches them do it because that's what he does.
He has to because he is who he is. And we watch him do what he does which is to watch things do what they do. We have to because
we are who we are. Aren't you?
The Eyes of Laura Nelson
Bolls of raw cotton, strings of clear silicone and fenugreek seed sprouts are not what you ordinarily think of as a sculptors medium, but
Laura Nelson is not an ordinary sculptor. She doesn’t limit her vision to tradition but uses it as a jumping off point to open the
doors for aleatoric experimentation. The objects and materials Nelson uses to create her one of a kind sculptures transform in her
hands thus the environment becomes her canvas and everything therein, her palette. Still her subtle use of color and delicate attention
to detail produce natural and understated abstractions of graceful serenity. Her modest charm is one of the qualities of her personality
that comes through most predominantly in her work, but the apparent clear and direct path from the vision in her mind to the art in her
hands is what makes us feel like we are seeing the world through the eyes of Laura Nelson.
Davy Evans throws cliches in a blender and hits “puree.” He likes his metaphor martini shaking, not sturdy. Gathering all the
unusual suspects he subjects his unsuspecting subjects to unscrupulous scrutiny to find forensically their photogenic propensities.
Dragging the truth kicking and screaming from the crepuscular shadows of mystery he forces it naked and trembling to stand before us
and sing away its falsetto falsehoods until it’s abject terror (this is the truth we’re talking about here) is transfigured into sublime
liberation. From a place long overlooked and all but lost Davy Evans resurrects the extraordinary and gives it everlasting permanence in
the tapestry of flickering moments in time we call reality.
Focusing the Facets of a Free-Form Farrago
Cristine Cambrea finds her surreal visions disguised as accidents, strips them of their ambiguity with her keen sense of
latency, and then lures them into the light by enhancing the contrast between subject and substrate with bold delineations or subtle
striae. like a collaborative cartographer she maps out the boundaries of beings, and the borders of burgs by barging brazenly into the
Aleatoric art is nothing to sneeze at
As the sun crosses the sky penetrating the cosmos, reflecting and illuminating the atmosphere and then filtering through translucent
veils of tissue crumpled in a box, it creates the complex interplay of light and shadow which constitutes the subject matter for Art
Venti’s mysterious otherworldly pencil drawings. Ambiguity as to the delineations between subject and context, near or far, even
negative and positive space evoke latent pre-birth memories of weightlessness in the womb where the mind first developed from a
subconscious dreamscape into a sentient mentality and conscious awareness itself began. Taking the classical study of drapery to the
next level Art Venti transforms the random dappling of diverted luminance into fantastic cloud caverns and castles underground,
exploring the dimensions of physical space as a kind of aleatoric feng shui.
Channeling light through transcendent technique
Fine art has the ability to elevate the spirit, raise the kundalini, stimulate the chakras, and thrill the intellect. Many of the deeper
emotional states can be triggered by simply gazing at a painting and the best can literally flood the pleasure centers of the visual cortex.
But shock, amazement and wonder are hard to come by in this jaded world of sensory bombardment by digitally enhanced visual
stimuli. Robert Venosa employs the traditional techniques of the old masters yet his work will make you feel like an infant
seeing and feeling for the very first time. You can’t imagine more than you can imagine, until you see the products of Robert Venosa's
An Aleatoric Mind Cannot be Denied a Chance
When a young artist shows up on our doorstep with the enthusiasm and motivation of Pilleriin Leet we find a way to bend the rules just
a tad. Leet’s surreal and macabre photo/painting/montages reflect a different side of aleatoric art. In this case the element of chance is
present in the conceptualization of her pieces which she approaches from single starting point somewhere in the middle and moves
outward without a clue where she’ll end up. Her subjects often turn out to be clowns, horses and dolls, but in her own words, “I don’t
even like clowns, horses and dolls!” Perhaps that’s why their heads are invariable grafted onto mismatched bodies. In this way Pilleriin
Leet shows us a side of aleatoria that hadn't occurred to any of us: What if the element of chance collaborated with the element of
chance and mother nature went random on us? That's why we keep an eye on the young ones: they're always one step ahead of us.
A partnership with paint
Veron Ennis has a respect for her paint that carries equal weight to her plans for it. There appears, in her work, to be a dialogue
between artist and medium throughout the painting process in which each has a say. The colors may impose their will over the artists
emotional decisions, and the artist may leap-frog that will and in turn inspire her pigmented partner to guide them, in tandem,
elsewhere still. But it’s the initial respect that gives her work that joyous edge one finds in any dynamic partnership. The rewards of
which are reaped by the viewer who appreciates the beautiful balance found in cooperative chaos born of symbiotic synergy.
Old school photography in a whole new light
If you've ever said digital photography can do everything film can, Qubais Reed Ghazala invites you to a enjoy a delicious
dinner of your own words. Ghazala will literally manipulate an image between the lens and the subject or the camera and the film to
concoct otherworldly aleatoric images that occurred under conditions that could not be repeated in a billion years. Besides
time-exposure and pyrotechnic lighting, the artist will modify his lenses and cameras, or employ camera-free techniques where, as
seen in the image at left, dye migration materials are hand-manipulated in the dark. These are just a few of the experimental methods
Ghazala uses to change the way we view photography and remind us that there is always more to know than we thought there was.
The universal language of metaphor has been enhanced
Somewhere between dry white paper and wet black ink, there is art held in suspension. Speaking in the multicultural language of
metaphors, Ted Lincoln draws out cloudbursts of blinding darkness and billowy nether worlds of shadowy light
in a cacophony of contrasts created with harsh industrial materials that seem incongruous with the transcendent beauty of his images.
Artistry of a caliber that we rarely see and yet we feel an immediate sense of familiarity with these forms and figures that speak so
clearly to our emotions yet remain mysterious to our intellect. Lincoln’s artworks defy critique with their expressive beauty and deny
indifference with their emotional impact.
Wake me up when we get there
Undeterred by the unlikelihood of a successful outcome, Ray Cabarga approaches each aleatoric exploration with confidence
and enthusiasm. Nine out of ten times his efforts are fruitless, but that tenth time makes it all worthwhile. When he finally does achieve
an accidental masterpiece, he carefully prepares the “oozing,” as he calls it, for the second phase of the process. After buying a new set
of ultra-fine permanent markers he waits for the spirit to move him, at which time he will start from one end and work his way across the
painting over the course of three to four weeks. Aided by his Zen meditation training he works in a trance-like state, intentionally clearing
his mind of conscious preconception, letting the painting guide his hand. After each session he will assess the work only to decide
whether it’s finished or not. The final result is an "inked oozing". Later, he’ll varnish and sign the work often with little or no recollection of
having drawn most of what appears there. In this way Cabarga surpasses his own creative abilities and employs the assistance of
chance and the higher intelligence of the universe.
A new wrinkle on aleatoric art
AleatoricArt curator Allan Rodewald’s experimentation and versatility with a wide variety of traditional and cutting-edge artistic
techniques, styles and mediums coalesce to sire yet a new take on aleatoric art. A kind of choreographed chaos or directed entropy
makes his brand of aleatoric abstraction accessible to the uninitiated while permitting him to stretch further than pure aleatory alone.
Rodewald establishes minimal governing parameters that act as a perceptual reference point for his cacophonous peregrinations to
juxtapose, contrast, or simply enjoy the context of. By slightly narrowing the gamut of possibility, he reveals a delicate serendipity that
unbridled pandemonium would obliterate, once again illustrating that freedom is appreciated only relative to that from which it is free.
A funny thing happened on the way to alearoria
Somewhere between representation and abstraction, AleatoricArt founder J. Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and passion hidden within diaphanous veils of liquid flesh. Floral fluids teeming with
twisted crickets. Tortured spirits embroiled in gaseous infernos. Nebulous glacial prehistoria infected with fractal relfections and
vitreous pathogens. Sultry vaporous nymphs smoldering in the molten pools of aleatoric magma from which the earliest signs of art
emerged. The mysterious images of J. Coleman Miller evoke wonder and delight without allowing us to fall victim to our usual inner
censors who squelch the child in us and cast judgement based on what is known. Miller’s art invites us to see what we don’t yet
Awakening spirits that were there all along
AleatoricArt co-founder Alex Volborth’s interest in art history, world cultures and spiritualism plays a major role in his particular
brand of found art photography, which seamlessly juxtaposes decaying objects with geological formations. To call his work simply
‘found art’ is an understatement- ‘found artifacts’ or ‘undiscovered art’ would describe it better, as his photos may include anything from
a rock formation bearing a resemblance to the Edvard Munch painting, ‘The Scream’, to a small skeleton of an unknown animal
perfectly shilouetted in red sandstone. But whether it’s a piece of a broken bicycle or an old Sicilian ashtray, Volborth shows us more
than just that with his uncanny ability to recognize the art in the mundane, and create the sense that he is uncovering a secret- by
revealing for the first time what has been there all along.
There goes the bar...into the stratosphere...
Anick Morel calls herself a photographer. She could have said painter, or sculptor or visitor from another galaxy. One where states
between liquid and gas, inanimate and living, even matter and thought, are all commonplace. In the hands of a master there is no
medium; there is no context, the art is pure and essential—you look upon it. Morels images are so expertly crafted that subject, substance
and dimension may remain ambiguous yet their profound beauty detours the analytical impulse by stunning the senses. Their stark, bold
clarity precludes concerns as to what, where or how and replaces them with a simple, “wow.” As unfamiliar visual stimuli often will her
work evokes a wide range of emotions in a short space of time. Don’t try to sort them out. Just succumb to the power of Anick Morel's
vision. Experience aleatoric art at its finest and be at peace with not knowing. The best things in life are often a mystery.
Carol Roullard’s passion for polymorphs elevates crystalline chemistry to aleatoric alchemy. Drawing from her childhood desire
to harness and hold the essence of nature’s emotional impact, she uses photography as her medium and approaches it with unyielding
devotion to the highest aesthetic of the form. Focusing in on the unobstructed truth revealed at the near-molecular level Roullard has
mastered the process of nucleation and growth of one of the more structurally complex manifestations of the physical universe: crystals.
But her microscopic macrocosms go beyond the linear symmetry of mere snowflakes, and mineral-based formations.
At the nano-metric level, crystallization enjoys the freedom to propagate subtle, sultry curves, and sensuous waveforms redolent of other-
worldly geological formations, By employing polarization filters the chromatic permutations increase manifold often escalating her
imagery to the realm of psychedelia. From even a cursory inquiry into the about of this alternative medium artist/scientist/inventor it
becomes clear that every enthralling moment in Roullard’s creative journey propels her spirit ever closer to aleatoric transcendence.
The Movement of Aleatoric Modern Artists is a hand-picked assemblage of 48 extraordinary painters, sculptors, photographers and craftspeople
representing an emerging “period” in art history which has spontaneously occurred all over the world with uncanny simultaneity. In response to society's apathy toward the
undermining of our planet's ecological balance by the ever-advancing technology of industry, every member of our movement has discovered a unique approach to art that is
philosophically, spiritually, and/or functionally aligned with the laws of nature. Each of us has selflessly devoted our talents to developing a relationship with our mother Earth
and discovering new ways of collaborating with her design to produce a body of work greater than our abilities alone would allow. From thousands of submissions each of
MAMA's members were chosen for their willingness to “roll the dice” (the literal meaning of the root word “alea”in aleatoric) and to explore uncharted artistic territory by
leaving a part of the creative process to chance. In the tradition of Dadaism, Impressionism, Abstract Expressionism and other periods representing freedom from figurative
form, the Aleatoricians of MAMA view their work as a cooperative collaboration with the forces of nature, capturing the amazing synchronicities that occur spontaneously by
virtue of the law of averages, and reaping the rewards of patient observation of natural circumstances. Aleatoric art is to art what quantum physics is to physics in that we've
thrown out the old preconceptions and conceptual limitations that have led us to the brink of cultural stagnation. In so doing we have already begun to change the face of art.
MAMA's mission is to instill our culture with newfound appreciation of art by presenting to the world an entirely new paragon, to advocate a more sustainable, all-inclusive,
and limitless expression of the human experience through art than was previously attainable, and to reconnect our spirits to the world in which we evolved.
Ray Cabarga, writer and art critic at Aleatoric Art Gallery
Where there’s a will there’s a way. Where there's free will there's a freeway
If art were a hive, and eyes were bees, Ala Leresteaux would be dripping with honey. Making your grandmother into a hat rack or
transforming a glass into a strange looking man holding up a glass are natural activities for an unnatural activist such as she. When you
train your nerves to follow through despite what your brain might tell it do, you may venture, in a lucid haze, beyond the point of iffy return.
In myriad mediums she may crush velvet Elvis but the chance of art, albeit art replete with wrinkles, increases manifold. Leresteaux
admits to having no expectations whatsoever so whatever she does is just what we're expecting her to do: surprise us.
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