Aleatoric Artists of the 21st Century
Text by Ray Cabarga
Text by Ray Cabarga
Organizing Chaos: Martin Waugh Catches Nature in the Act of Creating Art
The intangible ability of liquids to randomly morph into endless free-flowing formations 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 airborn, its atomic structure and surface tension interacts with atmospheric
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
solid-seeming forms of surprising precision and symmetry... forms that normally occur too briefly for the
human 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.
The intangible ability of liquids to randomly morph into endless free-flowing formations 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 airborn, its atomic structure and surface tension interacts with atmospheric
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
solid-seeming forms of surprising precision and symmetry... forms that normally occur too briefly for the
human 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 patient stalker of moments
The law of averages dictates that even amidst confusion and chaos, there is an equal chance that perfection
and harmony prevail- if only for a fleeting instant. Imagine if your perception was so acute that you could
divide every thought in your mind an.infinite number of times and observe the process of thinking itself... You
might discover, within every thought, one instant where you were a genius and another in which you were
insane. And what if you could see every possibility in every moment, and had the time to choose the right
one. Stoffel DeRoover's smoke art photography transcends time and space to effectively capture the
intangible 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.
The law of averages dictates that even amidst confusion and chaos, there is an equal chance that perfection
and harmony prevail- if only for a fleeting instant. Imagine if your perception was so acute that you could
divide every thought in your mind an.infinite number of times and observe the process of thinking itself... You
might discover, within every thought, one instant where you were a genius and another in which you were
insane. And what if you could see every possibility in every moment, and had the time to choose the right
one. Stoffel DeRoover's smoke art photography transcends time and space to effectively capture the
intangible 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.
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 art's impact on all things in life from love and ego to progeny and prophecy. Perhaps that’s
why his images inspire us to abandon preconceptions about what we are seeing, and rather than see what we
have learned these optical frequencies represent, we tend to see the colors, forms and contrasts which our
eyes truly receive. 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 things. Beyst questions the
direction of art today, citing an apathetic drift toward duplication of reality with accuracy to the original as
the gauge of merit, and the paucity of the creative vision and conceptual innovation that defines art. As a
digital photographer, the artist presents his work on the digital screen; looking ahead to a future technology
which frees the artist from the constraints of 2-dimensional screen or print presentation.
Stefan Beyst’s circumspect approach combines the theory, philosophy, and history of art, with an
understanding of art's impact on all things in life from love and ego to progeny and prophecy. Perhaps that’s
why his images inspire us to abandon preconceptions about what we are seeing, and rather than see what we
have learned these optical frequencies represent, we tend to see the colors, forms and contrasts which our
eyes truly receive. 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 things. Beyst questions the
direction of art today, citing an apathetic drift toward duplication of reality with accuracy to the original as
the gauge of merit, and the paucity of the creative vision and conceptual innovation that defines art. As a
digital photographer, the artist presents his work on the digital screen; looking ahead to a future technology
which frees the artist from the constraints of 2-dimensional screen or print presentation.
Haven’t 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 inarguable
joyous way. His pieces have a ongoing quality creating a sense of curiosity by implying what goes on 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 Mr. Lancaster makes me leave his studio and go home.
“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 inarguable
joyous way. His pieces have a ongoing quality creating a sense of curiosity by implying what goes on 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 Mr. Lancaster makes me leave his studio and go home.
Ray Cabarga, bored to disruption of the public school system, spent much of his childhood staring at the
sprayed foam insulation on the classroom ceiling. finding a vehicle for his imagination in the chaos and thus
beginning his lifelong passion for the aleatoric. As an adult he uses traditional mediums in unconventional
ways to create chaotic underpaintings called oozings to which he adds ink to accentuate the endless forms and
figures his paint creates all by itself. His latest body of work called "inked oozings" is a realization of his
childhood dreams. Dreams he would not have had if not for his many boring teachers..
Read Ray's recent rhapsody regarding random rendering HERE
sprayed foam insulation on the classroom ceiling. finding a vehicle for his imagination in the chaos and thus
beginning his lifelong passion for the aleatoric. As an adult he uses traditional mediums in unconventional
ways to create chaotic underpaintings called oozings to which he adds ink to accentuate the endless forms and
figures his paint creates all by itself. His latest body of work called "inked oozings" is a realization of his
childhood dreams. Dreams he would not have had if not for his many boring teachers..
Read Ray's recent rhapsody regarding random rendering HERE
Awakening spirits ever present but never noticed
Alex Volborth’s interest in art history, world cultures and spiritualism play a major role in his particular
brand of found art photography, which seamlessly blends decaying objects with natural geological phenomena.
To call his work simply ‘found art’ doesn’t suffice... '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 silhouetted in red sandstone. But
whether it's a rusty piece of a broken bicycle or an old Sicilian ash tray, Volborth shows us more than that with
his uncanny ability to bring out art in the mundane, and create the sense that he is uncovering a secret by
showing for the first time what has been there all along.
Alex Volborth’s interest in art history, world cultures and spiritualism play a major role in his particular
brand of found art photography, which seamlessly blends decaying objects with natural geological phenomena.
To call his work simply ‘found art’ doesn’t suffice... '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 silhouetted in red sandstone. But
whether it's a rusty piece of a broken bicycle or an old Sicilian ash tray, Volborth shows us more than that with
his uncanny ability to bring out art in the mundane, and create the sense that he is uncovering a secret by
showing for the first time what has been there all along.
The scars of a battle between man and his environment
The patterns and mutations arising from natures inevitable erosion, destruction, and attrition of man’s
attempts at glossing-over, or imposing uniformity upon the chaos that is the natural order of our world is
where Howard Pugh finds his expression. Like most Aleatoric visions, nature plays a major role. But the beauty
of this artists images is found where man’s interference with natural chaos is thwarted or in the process of
being reclaimed by the elements. A section of oxidized, or weather worn, corrugated steel wall. Semi-uniform
cracking patterns in weathered paint that seem to re-scale, but not change, depending on the thickness or
thinness of the coat, Details of abrasions patterns in epoxy coatings, or dendrites forming in the fissures of a
shattered surface. All these things are candidates for exploitation as art. Howard Pugh’s art compellingly
suggests the tension created by the dichotomy between man’s desire to control his environment and Natures
desire to return it to its original state of peaceful chaos, the disorder that prevails after the dust settles and all
is at rest.
The patterns and mutations arising from natures inevitable erosion, destruction, and attrition of man’s
attempts at glossing-over, or imposing uniformity upon the chaos that is the natural order of our world is
where Howard Pugh finds his expression. Like most Aleatoric visions, nature plays a major role. But the beauty
of this artists images is found where man’s interference with natural chaos is thwarted or in the process of
being reclaimed by the elements. A section of oxidized, or weather worn, corrugated steel wall. Semi-uniform
cracking patterns in weathered paint that seem to re-scale, but not change, depending on the thickness or
thinness of the coat, Details of abrasions patterns in epoxy coatings, or dendrites forming in the fissures of a
shattered surface. All these things are candidates for exploitation as art. Howard Pugh’s art compellingly
suggests the tension created by the dichotomy between man’s desire to control his environment and Natures
desire to return it to its original state of peaceful chaos, the disorder that prevails after the dust settles and all
is at rest.
The universal language of metaphor has been enhanced
Somewhere between dry white paper and wet black ink, there is art held in suspension. From deep within the
heart of his aleatoric muse, Ted Lincoln draws out cloudbursts of blinding darkness and billowy nether worlds
of hidden 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 poignancy. Somewhere between Eastern traditional Sumi paintings and the surreal science-fiction
avante garde lies the work of Ted Lincoln. A unique aleatoric master who transcends the context of black and
white, making the rest of the spectrum of light seem superfluous.
Somewhere between dry white paper and wet black ink, there is art held in suspension. From deep within the
heart of his aleatoric muse, Ted Lincoln draws out cloudbursts of blinding darkness and billowy nether worlds
of hidden 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 poignancy. Somewhere between Eastern traditional Sumi paintings and the surreal science-fiction
avante garde lies the work of Ted Lincoln. A unique aleatoric master who transcends the context of black and
white, making the rest of the spectrum of light seem superfluous.
When the boundaries of imagination no longer apply
After exhaustive research we have come to the startling conclusion that there is no way to explain how the
work of Zoran Zugic could have come into existence. His masterful technique and virtuostic ability would
indicate a mature wisdom and educated understanding of the physical world and how it is represented in art,
and all that is certainly in play here. So, how then would an accomplished self-realized artist, much less a
human being, concoct images of such dizzying incomprehensibility as to shock and baffle a viewer that has
made a life’s work out of suspending disbelief? Zugic’s realm is one where infinite varieties of unknown-life-
like forms, and semi-physical objects amalgumated beyond recognizability, are seamlessly intertwined to
create ghastly yet wonderful being-world-landscape-abstractions that are both realistic and unbelievable at
the same time. His use of light and color may suggest a cheerful impressionistic scene but his decisions about
what can be superimposed, juxtaposed, or even proposed at all, appear to have been made from a perspective
that defies human nature’s tendency to relate to, or even deviate from, something that could exist, somewhere
in the known universe. The aleatoricism of Zoran Zugic’s art lies in the one-in-a-billion chance of his vision,
not to mention the unlikelihood of ever coming across an artist such as he.
After exhaustive research we have come to the startling conclusion that there is no way to explain how the
work of Zoran Zugic could have come into existence. His masterful technique and virtuostic ability would
indicate a mature wisdom and educated understanding of the physical world and how it is represented in art,
and all that is certainly in play here. So, how then would an accomplished self-realized artist, much less a
human being, concoct images of such dizzying incomprehensibility as to shock and baffle a viewer that has
made a life’s work out of suspending disbelief? Zugic’s realm is one where infinite varieties of unknown-life-
like forms, and semi-physical objects amalgumated beyond recognizability, are seamlessly intertwined to
create ghastly yet wonderful being-world-landscape-abstractions that are both realistic and unbelievable at
the same time. His use of light and color may suggest a cheerful impressionistic scene but his decisions about
what can be superimposed, juxtaposed, or even proposed at all, appear to have been made from a perspective
that defies human nature’s tendency to relate to, or even deviate from, something that could exist, somewhere
in the known universe. The aleatoricism of Zoran Zugic’s art lies in the one-in-a-billion chance of his vision,
not to mention the unlikelihood of ever coming across an artist such as he.
Art exists, and 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 subliminally implied. Unlike most other aleatoric art, Totku’s work initially conveys a serenity that is
immediately apparent, yet there is 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 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.
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 subliminally implied. Unlike most other aleatoric art, Totku’s work initially conveys a serenity that is
immediately apparent, yet there is 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 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.
Nothing is safe from becoming aleatoric art
A generous scattering of seemingly random objects add dimension and excitement to Vickie Marsagno’s
artwork, much of which she feels happens purely by chance. At one time even declining to take credit for
some of it, Marsagno realizes now that she, as the artist, acted as a channel for a higher spiritual energy.
Marsagno’s textural elements go far beyond a few dabs of gel medium. She uses bits of broken china, lumber,
driftwood, parts of screen doors, stones, electrical cords with outlets, and even an occasional guitar if she
feels the work demands it. And she’s not afraid to lay on the paint, layer upon layer, all of which contribute to
an intensely passionate yet often playfully childlike art experience. Unlike anything you’re likely to have
seen, Vickie Marsagno’s art rocks...with real rocks!
A generous scattering of seemingly random objects add dimension and excitement to Vickie Marsagno’s
artwork, much of which she feels happens purely by chance. At one time even declining to take credit for
some of it, Marsagno realizes now that she, as the artist, acted as a channel for a higher spiritual energy.
Marsagno’s textural elements go far beyond a few dabs of gel medium. She uses bits of broken china, lumber,
driftwood, parts of screen doors, stones, electrical cords with outlets, and even an occasional guitar if she
feels the work demands it. And she’s not afraid to lay on the paint, layer upon layer, all of which contribute to
an intensely passionate yet often playfully childlike art experience. Unlike anything you’re likely to have
seen, Vickie Marsagno’s art rocks...with real rocks!
Don’t push the river- The river flows by itself
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 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 enhances the freedom from the characteristic human brush stroke produced by linear intention.
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 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 enhances the freedom from the characteristic human brush stroke produced by linear intention.
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 a 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. Toiling
tirelessly for weeks on just one piece, Schrock will do his best to seal every juncture with his arc welder which
he wields with the skill and precision of a surgeon. And then the creative process begins. A precise length of
1/2 inch garden hose has one end attached to a spigot and the other to a precision fitted adapter nozzle
through which pure di-hydrogen monoxide is forced directly into the artwork and the amazing transformation
begins. As if by forces beyond our understanding the universal solvent actually expands and distorts the
metallic substrate into bulbous balloon-like formations of transcendent beauty and perfection. The work is
complete when the pressure inside the sculpture has reached critical mass and shell breach occurs, spewing
highly corrosive di-hydrogen monoxide (A substance lethal to humans in large quantities that has been known
to erode solid rock) as far as two feet in the air. And thus another amazing sheet metal balloon is manifested
and stands as a monumental testament to mans helplessness against the forces of nature and the genius of
Andrew Schrock, one of the great aleatoric art artists of our time.
Aleatoric art is at its ultimate pinnacle of excellence when the planets align in a 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. Toiling
tirelessly for weeks on just one piece, Schrock will do his best to seal every juncture with his arc welder which
he wields with the skill and precision of a surgeon. And then the creative process begins. A precise length of
1/2 inch garden hose has one end attached to a spigot and the other to a precision fitted adapter nozzle
through which pure di-hydrogen monoxide is forced directly into the artwork and the amazing transformation
begins. As if by forces beyond our understanding the universal solvent actually expands and distorts the
metallic substrate into bulbous balloon-like formations of transcendent beauty and perfection. The work is
complete when the pressure inside the sculpture has reached critical mass and shell breach occurs, spewing
highly corrosive di-hydrogen monoxide (A substance lethal to humans in large quantities that has been known
to erode solid rock) as far as two feet in the air. And thus another amazing sheet metal balloon is manifested
and stands as a monumental testament to mans helplessness against the forces of nature and the genius of
Andrew Schrock, one of the great aleatoric art artists of our time.
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 (context) and the art (subject) to create a
natural relationship between form (concept) and function (physicality). This is the formula by which aleatoric
art eliminates the possibility of being pretentious, which is a primary factor in it's appeal. References to tribal
African art, ancient Egyptian relics, animal pelt apparel of the Andies 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 it's 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.
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 (context) and the art (subject) to create a
natural relationship between form (concept) and function (physicality). This is the formula by which aleatoric
art eliminates the possibility of being pretentious, which is a primary factor in it's appeal. References to tribal
African art, ancient Egyptian relics, animal pelt apparel of the Andies 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 it's 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.
A new wrinkle on aleatoric art
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 make his brand of aleatoric abstraction both accessible to the uninitiated while
permitting him to stretch further than pure aleatoria alone can by establishing minimal governing parameters
which 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, Rodewald 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.
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 make his brand of aleatoric abstraction both accessible to the uninitiated while
permitting him to stretch further than pure aleatoria alone can by establishing minimal governing parameters
which 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, Rodewald 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.
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 images 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.
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 images 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.
Even his name suggests aleatoric art
Mike Bloom is an aleatoric artist in the truest sense of the word. He sets the stage (canvas) choses the
players (colors) and lets them do what they will gently coaxing or influencing the paint rather than try to
dictate its every move and the result is something 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 flowers potential and the movement in
his paintings suggest 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
star bursts
in the night sky.
Mike Bloom is an aleatoric artist in the truest sense of the word. He sets the stage (canvas) choses the
players (colors) and lets them do what they will gently coaxing or influencing the paint rather than try to
dictate its every move and the result is something 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 flowers potential and the movement in
his paintings suggest 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
star bursts
in the night sky.
A funny thing happened on the way to aleatoria
Somewhere between representation and abstraction 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 reflections 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 censor who
squelches the child in us and casts judgement based on what is known. Miller's art invites us to see what we
don’t yet believe.
Somewhere between representation and abstraction 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 reflections 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 censor who
squelches the child in us and casts judgement based on what is known. Miller's art invites us to see what we
don’t yet believe.
Robert Venosa — Channeling light through transcendent technique
When we speak of virtuosic technique we may, at times, cite the artists propinquity to perfect realism as a
gauge. When an artist surpasses perfect realism and continues beyond the known into a realm never before
imagined, we are speaking of transcendent technique and one has to wonder could such skill be learned and
mastered by traditional methods of diligent labor and perspicacious study or has the artist evolved to become a
channel through which pure light may pass and where he chooses to impede that light, is where paint falls? In
every piece of art by Robert Venosa we see evidence of both, and probably more.
When we speak of virtuosic technique we may, at times, cite the artists propinquity to perfect realism as a
gauge. When an artist surpasses perfect realism and continues beyond the known into a realm never before
imagined, we are speaking of transcendent technique and one has to wonder could such skill be learned and
mastered by traditional methods of diligent labor and perspicacious study or has the artist evolved to become a
channel through which pure light may pass and where he chooses to impede that light, is where paint falls? In
every piece of art by Robert Venosa we see evidence of both, and probably more.
Just when you thought you had chaos neatly organized and under control someone comes up with a new way of
throwing a monkey wrench. Mark Stock’s work is to aleatoric art what virtual reality is to, well, reality.
Extremely complex fluid dynamic.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 Stack shows us forms that appear
natural, yet we would otherwise never encounter in a million years of observation.
throwing a monkey wrench. Mark Stock’s work is to aleatoric art what virtual reality is to, well, reality.
Extremely complex fluid dynamic.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 Stack shows us forms that appear
natural, yet we would otherwise never encounter in a million years of observation.
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 to create 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 Kwok Pan 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 interactive aleatoric art generators.
the nuances of nature, and the formulas of flukes the way a mason uses mortar to create 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 Kwok Pan 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 interactive aleatoric art generators.
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.
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.
Around the center of the periodic table, JB 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.within 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 more of what galvanizes his place in this gallery.
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.within 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 more of what galvanizes his place in this gallery.
Nicola Parente - Journeys through Urban Aleatoria
Italian born painter/photographer, Nicola Parente, combines acrylics, ink, charcoal and pencil 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.somehow become the
subject of his pieces giving a new meaning to the term aleatoria as the byproducts of the creative process
overshadow its conscious mechanisms, as though the method were the means and the creating, the creation.
Italian born painter/photographer, Nicola Parente, combines acrylics, ink, charcoal and pencil 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.somehow become the
subject of his pieces giving a new meaning to the term aleatoria as the byproducts of the creative process
overshadow its conscious mechanisms, as though the method were the means and the creating, the creation.
Qubais Reed Ghazala — 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.
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.
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—as well as the
cosmic elements that constitute our universe—the planets with their gaseous swirls and roiling atmospheric
storms. Her work also captures the colors and shapes of the distant nebulae which contain the stardust from
which all life originated. impressionistic aerials and 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.
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—as well as the
cosmic elements that constitute our universe—the planets with their gaseous swirls and roiling atmospheric
storms. Her work also captures the colors and shapes of the distant nebulae which contain the stardust from
which all life originated. impressionistic aerials and 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.
found realm aleatoric artists read art modern website nature images beauty one creative great natural using work fine first created metal eastern creates paintings uses materials steel featured page gallery available corporate houston studio works process venosa dali aleatoricart working variety urban chance physics unique ways beautiful processes techniques chaos sculptures traditional
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