Life is an unpredictable journey, full of chaos that we can't always control. Whether it's on a personal level, with constantly evolving relationships, or on a larger scale, with natural disasters, pandemics, and wars that disrupt our lives, chaos is a constant companion. But chaos doesn't always have to be negative; it can also bring unexpected beauty and moments of clarity if we're willing to take a closer look.


For artists, chaos can be a powerful tool in creative expression. Long-form generative art is a unique way to incorporate randomness into artwork, allowing for the creation of a series of distinct pieces based on the same code. Seasky is an example of this, with its prominent display of the construction process, showcasing the creation of clouds that seek to dominate the scene. The interplay between light, clouds and sea adds depth and intrigue to the piece. As the scene evolves, the inclusion of noise on the horizon and soaring birds creates an emotive and captivating view.


Seasky was born from my exploration of the realm of chaos. As an artist, I love to experiment with generative art code, and during the creation of this collection, I discovered an unconventional method of creating clouds by layering objects at specific intervals. Pushing the limits of this technique, I found myself drawn to clouds that started to resemble painterly styles by 19th century masters such as JMW Turner and Gustave Courbet. For me, these styles emanated a sense of power and emotion that other constructs using this technique could not match. The introduction of the sea (itself inspired by impressionist techniques), and noise on the horizon, which interacts with the sky, results in a collection that showcases the beauty of chaos.


During my creation of Seasky, I also experimented with color. While I typically rely on generative randomized color rather than predefined palettes, for this collection, I imposed limits on greens and overall saturation levels to create a more natural feel. Despite this, I found that adding some unnatural reds, oranges, and blues contributed to the overall aesthetic, creating a fantastical element that enhances the collection in an unpredictable way.

Seasky

_much like the sound of water_ 
_a second before boiling_ 
_so I hear the thriving of our plants_ 
_some words are so tender_ 
_that we keep them in greenhouses_

_should we let them in on it, Mama?_ 

_the language of plants_ 
_has nothing to do with where you’re from_

 --  Radmila Petrović, The Language of Plants (excerpt) * 

 
---
 

It is said that, “inat” is something unique for the people from my country.

I don't mean to glorify “inat” as it is the case (here) too often, but I have to admit it is an odd sensation to recognize it in my actions and be able to name it and precisely pinpoint it. “Inat” could be found everywhere in the world, as it is, at times, a motivating spirit that pulls the best out of you in the worst of circumstances.

The word itself derives from the Turkish (and, before then, Arabic) language of the Ottoman Empire and the closest translation I found, refers to “an attitude of proud defiance, stubbornness and self-preservation - sometimes to the detriment of everyone else or even oneself.”** But for me it bears even more emotional complexities, (for me it also means a) positive motivation for digging into your forgotten strength to accomplish a goal or set a new, higher bar. 

In my case, “Inat” will often surface when I realize I was either taking things for granted or being too comfortable in my surroundings. 

I delve into the symbolism encapsulated within the perceptions of botanical gardens, glasshouses and glass ceilings***. These metaphors, filled with societal implications, serve as powerful lenses through which I try to augment the emotions. At the same time, duality is present in both this structure seen as sanctuary where aspirations flourish, foster resilience, but also as embodiment of intangible barriers that confine and restrict. 

By exploring the coexistence of generative glasshouses with imposed constraints and wild but controllable plant structures, I explore the resilience and determination required to transcend societal expectations and the idea of breaking free through incremental changes, slow and steady growth.  

 And when obstacles grow, “inat” sparks.    

 ----
 *Jezik bilja

_poput zvuka vode_
_sekundu pre ključanja_
_tako čujem bujanje naših biljaka_
_neke su reči toliko nežne_
_da ih čuvamo u plastenicima_

_da li da im otkrijemo, mama?_

_jezik bilja_
_nema veze s tim odakle ste_

-Radmila Petrović, poem *Jezik bilja* from the poetry collection *Moja mama zna šta se dešava u gradovima* (2020), published by PPM Enklava

-English translation by Jovanka Kalaba and edited by Ellen Elias-Bursa

** Dragan Milovic [London’s Institute of Slavonic and Eastern European Studies.], 2004

*** A glass ceiling is a metaphor usually applied to people of marginalized genders, used to represent an invisible barrier that prevents an oppressed demographic from rising beyond a certain level in a hierarchy.

Glasshouse INAT

The Curated Collection includes projects that have been selected by Art Blocks’ Curation Board for their world-class innovation, technical rigor, and aesthetic beauty.

curated

This collection comprises projects screened and selected by Art Blocks and embodies our standards for artistic creativity, conceptual rigor, and technical achievement.

presents

This is the place where we tinker. What lives here is free of theme or architecture but the one common strand is that these projects all grant us delight.

explorations

The Art Blocks × Pace collection includes boundary-pushing generative projects by select Pace artists developed in partnership with Pace Verso.

artblocksxpace

Through an exhibition program that extends across galleries globally, Art Blocks × Bright Moments showcases and launches the work of acclaimed natively generative artists.

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