In Bokeh, Michael Kozlowski unites algorithmic artistry with refined physical craftsmanship, creating sculptures, lighting, and digital works that explore the interplay of light, form, and the complexity of perception. 

At the heart of the Bokeh collection lie three hundred unique digital artworks, generated by the base algorithm that informs every physical piece. Collectors will have the rare opportunity to acquire one of thirty exclusive wall sculptures, each a tangible expression of its digital counterpart. These sculptures, sold after the digital auction on a first-come, first-served basis, embody the connection between the digital and the material, merging code and craft.

Bokeh

The Curated collection is the foundational series of Art Blocks. It represents our vision for the pinnacle of generative art, showcasing projects that embody world-class innovation, technical rigor, and aesthetic beauty. Originally organized into Series 1 through 8 until October 2022, the collection continues without series designations and advances our mission to push the boundaries of the generative art medium.

Art Blocks Curated

What's in the piñata?  

In this experimental project, Karim playfully interrogates the materiality of digital art through a multilayered journey, starting in a Marfa backyard and ending on the Ethereum blockchain.  

Like the experience itself, the artwork transforms from physical to digital: 30 ink drawings are digitized, stored on Arweave, and composed into unique, algorithmically generated piñatas.  

piñata3

Art Blocks Studio is a self-publishing platform designed to empower preeminent generative artists by facilitating the direct release of their collections. The Studio allows artists to manage their own releases and provides them with autonomy in both creation and distribution.

Art Blocks Studio

Motion Pictures embraces the past and the present by combining archaic barrier-grid animations with modern techniques. The result is generative art that's animated and interactive both on your computer and when printed.
 
Barrier-grid animations are 5-10 frame loops. Slices of the frames are interlaced on one page, and sliding a film over the page animates the loop by exposing one frame at a time.

Motion Pictures executes this concept with some modern twists. The film can be controlled using your mouse or a touch screen device, and a keyboard or midi controller can be used to modify the art. It may not run on older phones and computers.

Inspired by Takahiro Kurashima's Poemotion series.

Keyboard controls
1: toggle between the barrier-grid and live animation
2: toggle between 2D/3D
3: Print the art and film at 6"x9"

Parameter controls
Pressing a key increases the value, and pressing while holding shift decreases it.
Q, W, and E: Film width, height, and rotation
A: Animation speed
S, D, F, G, H:  Parameters for 2D and 3D mode
Z, X, C, V, B: 3D-only parameters

MIDI Controls
CC 32-42: Parameters other than the film dimensions
Notes 32 and 33:  Toggle the animation mode and 2D/3D

Motion Pictures

The INK (fragrances) collection contains six fragrances, each uniquely embodies its corresponding generative artwork, produced at the time of purchase from the INK algorithm, resulting in a handcrafted, exclusive formula. The bottle itself, also handcrafted, serves as a container but stands as an independent object. A drop of crystal ink.

Involving other senses, and for that, crafting a scent to coexist and transcend at the same time the visuals, it becomes not just fragrance, but a reminder that art, like memory, lives beyond the visible. 

INK speaks to the bold insistence on leaving a trace, a mark that knows it will fade, yet persists. A poetic contradiction lies in each stroke: the pursuit of permanence in a world destined to vanish. Whether in blue or black, in pencil or rust, each line reflects fragments of human experience – perhaps  figures, animals, or letters – yet none of it is real; it is only experiences, biases, dreams, and demons.

To this, INK adds the handcrafted as part of the experience—a scent that lets us declare, “I was here; I existed.” Rather than rely on the slow decay of ink, paper, or perhaps one day pixels, we lean on what is within our control: memory, boundless, infinite, and ours alone. For a moment, breathe it in, take in the work. In this quiet persistence, we find our redemption—an echo of those who remain and those who have already gone. 

INK is a profoundly personal project. As Velitchkova says "Life doesn’t give us what we desire without first demanding something in return". INK is Velitchkova's answer to a year filled with hard lessons, hopes, and losses. Built upon these experiences, each line structure tells its own story, echoing to a song by Travis—a band that knows the artist's steps better than most.

This series traces the history of inks through algorithmic iterations. Each one is reimagined as both a medium and metaphor. Iron gall ink, used in medieval Europe, ironically corroded the manuscripts it aimed to preserve. Blue ink, made practical by the 20th-century ballpoint, serves the demands of modern life. Black ink, from ancient Egypt and China, symbolizes permanence in official records and last words. White ink, an accent in manuscripts and art, was never meant for the mundane. It exists to illuminate, to contrast, used sparingly for highlights on dark surfaces.

INK draws from the simplicity of Picasso’s single-line figures, Chillida’s sculptural weight, Kline’s expressive brushwork, and Basquiat’s chaotic yet precise gestures. Yet it seeks neither homage nor critique, it merely stands as a mirror, reflecting our insistent need to matter. 

INK (fragrances)

INK speaks to the bold insistence on leaving a trace, a mark that knows it will fade, yet persists. A poetic contradiction lies in each stroke: the pursuit of permanence in a world destined to vanish.

Whether in blue or black, in pencil or rust, each line reflects fragments of human experience – perhaps  figures, animals, or letters – yet none of it is real; it is only experiences, biases, dreams, and demons. Rather than rely on the slow decay of ink, paper, or perhaps one day pixels, we lean on what is within our control: memory, boundless, infinite, and ours alone.

In this quiet persistence, we find our redemption—an echo of those who remain and those who have already gone. INK is a profoundly personal project. As Velitchkova says "Life doesn’t give us what we desire without first demanding something in return". INK is Velitchkova's answer to a year filled with hard lessons, hopes, and losses. Built upon these experiences, each line structure tells its own story, echoing to a song by Travis—a band that knows the artist's steps better than most.

This series traces the history of inks through algorithmic iterations. Each one is reimagined as both a medium and metaphor. Iron gall ink, used in medieval Europe, ironically corroded the manuscripts it aimed to preserve. Blue ink, made practical by the 20th-century ballpoint, serves the demands of modern life. Black ink, from ancient Egypt and China, symbolizes permanence in official records and last words. White ink, an accent in manuscripts and art, was never meant for the mundane. It exists to illuminate, to contrast, used sparingly for highlights on dark surfaces.

INK draws from the simplicity of Picasso’s single-line figures, Chillida’s sculptural weight, Kline’s expressive brushwork, and Basquiat’s chaotic yet precise gestures. Yet it seeks neither homage nor critique, it merely stands as a mirror, reflecting our insistent need to matter. 


Bokeh

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