nocreative
Copen
hagen
based // Digital artist
It is time to think of digital art as a new center, a point we have arrived at; the rebellious teenage offspring of traditional art and of the 21st century.
Maturing at an incomprehensible rate, movements that once took decades or centuries to establish happen in weeks, or even days with the advent of creativity. Renegotiating the definition of space, artist, community and viewership, artists are re-introducing the union between art and technology to establish an unprecedented legacy, provenance and a rekindling of the artworld.
Artwork //
selection
THE ROOM OF
MURMURING
“We can only get so close, before we break apart.”
Starlings murmur in vast formations as a safety measure, finding security in numbers.
The mesmerizing patterns of their murmuration emerge due to the phenomenon known as the selfish herd effect. Each individual starling instinctively gravitates towards the flock's ,gradually compacting it further. This continuous movement persists until the flock reaches a point of dispersion, only to regroup and repeat the mesmerizing dance once more.
In The Murmuring Room, noCreative positions his cloth in the background, bringing to the front stage his new revisited narrative: nature as an object. Contemplating how we might only grasp certain natural phenomena through simulations, mimics, or recordings in the future.
It's a poignant reflection on the nature we once took for granted and the one we now inhabit. Our ongoing destruction, constantly repeated, and reflected in this very moment.
YEARN
“The eternal return, an infinite mirage.
Vaporization of time, the snowflakes brevity.
Abrogate what has passed, espousing the present.
Self-reference, at this moment I need you the most.”
Yearn delves into the resurgence of the Nordic spring, the very essence and spirit of the seasonal transition. A long-standing deeply rooted appraisal, celebrated by the Scandinavian populace since the inception of their earliest settlements.
Symbolizing the revival of vitality and the resurgence of luminosity, the artwork encapsulates the essence of a verdant woodland during the Scandinavian spring.
It evokes the cool breeze cast by the shadows and the gentle caress of the feeble sun's warm rays.
Despite the persistent presence of winter, which lingers to the extent of reclaiming these fleeting moments, the artwork captures the delicate balance between the seasons.
— akin to fragile mirrors that hold the potential to shatter in an instant, yet still retain their delicate equilibrium.
MISE EN
SCÉNE
“Ancient emerald verdant, weaver gestures intricate.
A pastoral waltz, assumed eternal.
Lost to the promise of;
prosperity and progress.
Now a tome of scars reminiscence.”
Humans have left their trace on the world; by now, we are everywhere. We have littered the tallest mountains. Micro-plastics have been found at the bottom of the deepest ridges of the ocean.
Mise en Scène is, as the title references, a composed piece of nature, a reflection of what is real.
Every photo is staged by the observer, just as every artwork is.
The captivating beauty of the scene and the murmuring entities have intentionally been slashed across by power lines.
As a reminder of the nature we once took for granted and the one we now inhabit. Our ongoing destruction is constantly repeated and reflected in this very moment.
“One last dream before eternity, everything is fused.
The planets collected, living neurons illuminate.
Incoherently… yet assiduously - unanimously.
From here on forward, we go sublime.”
The Spanish dancer “nudibranch” served as the primary inspiration for this artistic composition. This type of sea slug is renowned for its resplendent hues and fluid movements as it glides through its aquatic environments.
In the event that the Spanish dancer is agitated, it can unfurl its edges and use contractions and undulations of its body to swim away from the source of disturbance.
Its common name “Spanish dancer” derives from this particular defensive mechanism.
The artwork depicts several pieces of fabric that emulate the movements of the Spanish dancer. This, in conjunction with the of its name, synthetic, serves as a commentary on the detrimental effects of human activity on the world's oceans, suggesting that we may eventually only be able to appreciate these magnificent creatures like this through recordings or synthetic simulations.
“I miss having conversations.
Don’t have to see you to touch you.
I miss longing to delve into a conscience.
Don’t have to see you to want you.
I miss closeness with another soul.
Don’t have to see you to feel you.”
Is an exploration of Edgar Degas’s paintings, with the individuals (girls) left out.
This piece was done to emphasise the interchangeable nature of a Ballet.
Ballet is a piece of art that's evolving,
and standing the trials of time.
It's an art form where the performer is replaceable.
Hence why there are no ballerinas. The swan lake does not need a particular dancer or group of dancers, they are just the medium of communication.
“When that which was thought to be perfect.
The animus withered, unraveled torn asunder.
From the depths of the Aegean, I ascend.
Moirai's prospect will breathe their light.”
Estranged explores the power of religious spaces, a theme that has permeated through several of my works including “Cherubim”. As a native of Denmark, Grundtvigskirken (Grundtvigs church) in Copenhagen has been a significant inspiration for both pieces.
Religious buildings such as these have been designed to elicit a sense of awe and magnificence upon entrance that pulls the viewer inward and connects them to a higher power just through its design. I aim to capture this captivation through Estranged as well as the building’s ability to connect and heal us with the power of its architecture, especially in times of great difficulty.
This piece marks a defining moment in my life and career, one of breaking bad habits and the departure from an unhealthy environment. Ultimately, leading to prospects of a more fulfilling life on the horizon.
This has also been expressed via the accompanying poem. In the artwork itself, a cloth is used to divide the nave of the church, cutting the room in half by a delicate veil. We are no longer allowed to enter the most holy place of worship, restricted to only observe the altar space.
Separating man and God, a metaphor that carries many references to and within western Christianity. The visual inspiration of this piece is deeply seeded in the great masterpieces of the renaissance era as it relates to the depicted holy spaces, use of color and light.
syntetic
the muse
devéloppé
The story never changes, the art never changes, but the people performing it dose
The lighting is a combined inspiration of the works of photographer Trine Søndergaard,
and painter Vilhelm Hammershøi.
Mirrors being mirrors, breaking reality creating a duality, a natural uncertainty by their presence. Giving off an unreal feeling of what is real and what is not.
“HER, that elusive source of creativity and inspiration, is a precious cadence that should never be taken for granted.
It is the wellspring from which artistic and intellectual brilliance flows.
To disregard or neglect her is to forego the potential to produce work.”
