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Ether

"One of Us" Variation 1

SuperRare 1/1s: Matt Kane

OpenSea

I made this work to commemorate the return of SuperRare's 10% royalty on secondary sales and the community led movement toward adopting 10% as a minimum across  the industry's smart contracts. It is a love letter to the builders, collectors, and artists in the space who bravely answer Buckminster Fuller's calling to be architects of the future, not its victims. 

Color and motion study after the 1890 U.S.A. Ten Dollar Treasury Note.

NFT owner unlocks exclusive access to 8K video file (4320×7680) & more at NFT Portal: https://collect.mattkane.com/minted-works/architects-of-the-future/

Minted Resolution: 1080x1920.
Made with custom software using Processing.org and Java.

Layers: 132. 
Colors: 35. 
Total Shapes: 956,729. 
Vertices: 1,542,100. 
Ellipses: 455,035. 
Quad: 14,246. 
Rect: 666. 
Triangle: 27,793. 
Shapes: 277. 
Line: 458,482. 
Point: 230. 

Architects of the Future

superrare.com

4K Animated GIF, 3840 x 2160

All proceeds from this initial sale will go to Campaign Zero: https://www.joincampaignzero.org/ 

On May 31st, there was an interaction between Minneapolis Police Chief Medaria Arradondo and the Floyd family in which CNN reporter Sara Sidner was a conduit, asking the family's question of the chief. "I want to know if he's going to get justice for my brother, arrest all the officers, and convict them." How Chief Arradondo answered, removing his cap, should not soon be forgot. "Silence and inaction, you're complicit," he said of the officers he fired the day after George Floyd was murdered. 

If we are to see meaningful change in this world, we need leaders who are willing to buck the old culture and put forth new models. Chief Arradondo's words set a new standard of expectation for accountability. Change arrives by leadership from within the institutions we seek change from. Therefore, we must not allow these rare interruptions to the status quo become covered over by noise. 

To create this animation, I introduced the database of this painting to various amounts of noise, to simulate the chaos created by so many voices speaking at once. No matter the noise, facts and the record of words spoken remain crystallized. This artwork is part of a larger series in which I investigate the people and messages featured on and aesthetics of fiat currency. 

I have released the first frame of this animation as a high resolution JPG, under a non-commercial license. Whomever connects to this artwork can freely print it, post it, use however suits the cause for justice. https://creativecommons.org/licenses/by-nc-sa/4.0 
Additional Assets can be found here:  https://collect.mattkane.com/minted-works/8-minutes-46-seconds-in-memoriam-george-floyd

I ask future collectors whom sell or trade this NFT to consider taking any amount and donating toward a cause that would serve to honor the memory of George Floyd.

8 minutes 46 seconds - In Memoriam George Floyd

Dimensional GIF featuring my generative painting of Frankenstein's Monster with makeup artists.

This is a parallax dimensional layer study of my painting "Water Lilies after Claude Monet." Scaled for optimal viewing on most modern cell phones.

Surfacing Water Lilies I

A parallax dimensional layer study of my painting "Water Lilies after Claude Monet."

Surfacing Water Lilies II

An experimental parallax dimensional
layer study of my painting
"Water Lilies after Claude
Monet."

Surfacing Water Lilies III

Dimensional GIF featuring my generative painting Unattainable, after Joan Crawford and Franchot Tone.

Unattainable - Variation 1

I visited, studied, sketched, made notes from, and and drew inspiration from photographed works at The Art Institute of Chicago. This research allowed me to create digitally rendered master copies after the works in Gallery 243, also known as The Monet Room. The master copy is a tradition in art in which a student artist creates a copy from a masterpiece in order to analyze and learn from the work. I create master copies in order to train myself to use the custom graphics software I've programmed, in addition to spurring the building of tools especially to meet the challenge of creating analogs to particular techniques.

I've designed my software to leverage algorithms with my own human input. I build paintings layer by layer, making choices regarding color, shape, form, and how the algorithms I've written should interact at any particular time. The result is my ability to communicate in color and pattern in ways I long understood but which are too complex, time consuming, or cost prohibitive for my hand and materials to manifest physically with traditional methods.

This piece is a motion study in the style of a "Wiggle GIF"

Surfacing Water Lilies IV

Since I was a child, I'd always been pulled in by paintings depicting the Madonna and Child. Long ago, I promised myself that I'd take a stab at religious motifs when my skill could only pose a compliment to the subject. This painting is based on a french postcard from the turn of the century. It was the practice of many photographers at the time to hire prostitutes for these commercial photographs. Given that, I wondered if this was indeed the woman's child. The closeness seems too natural to be staged. And did the child grow up knowing his father or had he been forsaken?

Created on custom software programmed by the artist, using Processing and Java. Resolution: 16K x 24K. This painting required the artist to make 2,239 changes to 165 variables over the course of 12 man hours and consists of 148 layers consisting of 1,331,567 unique vector shapes and 54 different colors. 

What Child Is This

I visited, studied, sketched, made notes from, and and drew inspiration from photographed works at The Art Institute of Chicago. This research allowed me to create digitally rendered master copies after the works in Gallery 243, also known as The Monet Room. The master copy is a tradition in art in which a student artist creates a copy from a masterpiece in order to analyze and learn from the work. I create master copies in order to train myself to use the custom graphics software I've programmed, in addition to spurring the building of tools especially to meet the challenge of creating analogs to particular techniques. I've designed my software to leverage algorithms with my own human input. I build paintings layer by layer, making choices regarding color, shape, form, and how the algorithms I've written should interact at any particular time. The result is my ability to communicate in color and pattern in ways I long understood but which are too complex, time consuming, or cost prohibitive for my hand and materials to manifest physically with traditional methods. This piece is a motion study in the style of a "Wiggle GIF"

Surfacing Water Lilies V

Note: Initial sale of this piece to benefit https://thewaterproject.org/ as part of XERO Gallery's charity drive.

Resolution: 20K x 12K

This is a deconstruction of my painting "Stack of Wheat after Claude Monet." 

The paintings I create with my custom generative software are preserved as databases. This piece is a visualization of my introduction of chaos onto a database consisting of 732,116 unique vector shapes. The result isn't as much a glitch of vectors as it is a representation of the popular proverb, "the best-laid plans of mice and men often go awry. No matter how carefully a project is planned, something may still go wrong with it." But for chaos, my interpreter program is capable of perfectly recreating my original painting. I am investigating the aesthetics that result from the random and erratic, suggesting all that goes wrong is sometimes right; that the design choices I made in the original painting can survive outside that rigid data structure and thrive in the unexpected. I am searching for the best wrongs; the wrongs that outshine my perfectly laid plans.

Stack of Wheat after Claude Monet Deconstruction I

Resolution: 22K x 16K//  0.35 Gigapixels // Approximate size on a 300 PPI retina screen: 1.89 meter x 1.33 meter or 6.16 feet x 4.33 feet. Made with Processing.org and Java. 

I visited, studied, sketched, made notes from, and and drew inspiration from photographed works at The Art Institute of Chicago. This research allowed me to create digitally rendered master copies after the works in Gallery 243, also known as The Monet Room. The master copy is a tradition in art in which a student artist creates a copy from a masterpiece in order to analyze and learn from the work. I create master copies in order to train myself to use the custom graphics software I've programmed, in addition to spurring the building of tools especially to meet the challenge of creating analogs to particular techniques. I've designed my software to leverage algorithms with my own human input. I build paintings layer by layer, making choices regarding color, shape, form, and how the algorithms I've written should interact at any particular time. The result is my ability to communicate in color and pattern in ways I long understood but which are too complex, time consuming, or cost prohibitive for my hand and materials to manifest physically with traditional methods.

Total unique vector shapes: 732,116.
verticies: 2,612,118.
colors: 38.
ellipses: 37,937.
quad: 2,320.
rect: 456,227.
triangle: 797.
shapes: 3,4344.
beziers: 3,322.
line: 197,169.

This piece required the artist to make 1,727 changes to 197 variables in the custom software he works in.

Stack of Wheat after Claude Monet

I created this piece upon studying "Irises," painted in oil on canvas by Claude Monet between 1914-1926. For this particular piece, the challenge to myself was to pull out figure-ground relationships from what Monet painted as an immense color field painting. 

Resolution: 12K x 12K // Approximate size on a 300 PPI retina screen: 1 meter x 1 meter or 3.33 feet x 3.33 feet. Made with Processing.org and Java. I visited, studied, sketched, made notes from, and and drew inspiration from photographed works at The Art Institute of Chicago. This research allowed me to create digitally rendered master copies after the works in Gallery 243, also known as The Monet Room. The master copy is a tradition in art in which a student artist creates a copy from a masterpiece in order to analyze and learn from the work. I create master copies in order to train myself to use the custom graphics software I've programmed, in addition to spurring the building of tools especially to meet the challenge of creating analogs to particular techniques. I've designed my software to leverage algorithms with my own human input. I build paintings layer by layer, making choices regarding color, shape, form, and how the algorithms I've written should interact at any particular time. The result is my ability to communicate in color and pattern in ways I long understood but which are too complex, time consuming, or cost prohibitive for my hand and materials to manifest physically with traditional methods. 

Total unique vector shapes: 743,932. 
verticies: 1,737,371. 
ellipses: 73,197. 
quad: 144. 
rectangles: 74,108. 
triangle: 181. 
other shapes: 29,158. 
beziers: 2,426. 
line: 564,718. 
colors used: 32. 

Irises after Claude Monet

I love street cats. 

Resolution: 15K x 23K 
Approximate size @300 PPI retina screen: 50"x76" // 128cm x 193cm. 
Made with custom software using Processing.org and Java. 

TAKO

I created this piece upon studying "Water Lilies," painted in oil on canvas by Claude Monet in 1906. Only the second in the series, I challenged myself to make any given close-up a dynamic abstraction. On the macro, I wished to impress my own palette upon the landscape while maintaining the figure ground relationships that Monet created between lilies, water, and reflections of sky and treeline on top of the water. 

Resolution: 15K x 14.5K // Approximate size on a 300 PPI retina screen: 1.27 meter x 1.22 meter or 4.16 feet x 4 feet. Made with Processing.org and Java. I visited, studied, sketched, made notes from, and and drew inspiration from photographed works at The Art Institute of Chicago. This research allowed me to create digitally rendered master copies after the works in Gallery 243, also known as The Monet Room. The master copy is a tradition in art in which a student artist creates a copy from a masterpiece in order to analyze and learn from the work. I create master copies in order to train myself to use the custom graphics software I've programmed, in addition to spurring the building of tools especially to meet the challenge of creating analogs to particular techniques. I've designed my software to leverage algorithms with my own human input. I build paintings layer by layer, making choices regarding color, shape, form, and how the algorithms I've written should interact at any particular time. The result is my ability to communicate in color and pattern in ways I long understood but which are too complex, time consuming, or cost prohibitive for my hand and materials to manifest physically with traditional methods. 

Total unique vector shapes: 1,243,070. 
verticies: 2,056,112. 
ellipses: 509,426. 
quad: 10,585. 
rectangles: 44,711. 
triangle: 16. 
beziers: 15,605. 
line: 662,727. 
colors used: 309.
layers: 118.

Water Lilies after Claude Monet

14 years ago in 2006, I began a series exploring the history and aesthetics of fiat currencies. This is the first in the resurrection of that series; the first time my abilities honor the ambition, vision, and moxie that a slightly younger version of myself demanded before work on the series could continue. We stand in agreement today, the 8th day of 2020, that we are at long last ready for the shuffle.

Resolution: 8K x 8K Approximate size @300 PPI retina screen: 26"x26" // 68cm x 68cm. Made with custom software using Processing.org and Java.

Layers: 45.
Colors: 25.
Total Shapes: 168,330. 
Vertices: 347,461. 
ellipses: 2,867. 
rectangles: 6,834. 
line: 158,629. 

Ready for the Shuffle

Color and motion study of the bottom right flourish located on the U.S. one-dollar bill. 

Dimensions: 720 x 720 pixels.  
Frames: 240. 
Layers: 38 consolidated to 22.
Colors: 24.
Total Shapes: 479,477.
Vertices: 957,300.
Ellipses: 64,055.
Rect: 29,213.
Triangle: 132.
Other shapes: 18.
Line: 386,059.

Another Dime

Color study of the bottom left flourish located on the U.S. one-dollar bill. 

NFT Portal: https://collect.mattkane.com/minted-works/bow-before-my-hollow-glow/

Resolution: 8K x 8K Lossless. Approximate size @300 PPI retina screen: 26"x26" // 68cm x 68cm. Made with custom software using Processing.org and Java. 

Layers: 35.
Colors: 161.
Total Shapes: 548,124.
Vertices: 1,175,444.
ellipses: 1,768.
quad: 16,699.
rect: 7,925.
shapes: 339.
line: 521,385.
point: 8.

Bow Before My Hollow Glow

Color and motion study after the 1890 U.S.A. One Dollar Treasury Note. 

NFT owner unlocks exclusive access to 8K video file (5120x8192) & more at NFT Portal: https://collect.mattkane.com/minted-works/breathe-in-the-bottom-and-blow-out-the-banks/
 
Minted Resolution: 1200 x 1920. Made with custom software using Processing.org and Java. Layers: 112. Colors: 279. Total Shapes: 419,837. Fill Shapes: 271,122. Stroke Shapes: 329,231. Fill & Stroke Shapes: 600,353. Vertices: 944,425. Ellipses: 153,760. Quad: 3,123. Rect: 116,219. Shapes: 637. Line: 146,092. Point: 6. 



Breathe In The Bottom And Blow Out The Banks

FIRST: an ultimate in currency. 

4K Layer Box Dimensional Painting in GLB format, hand signed on reverse. 87 layers packaged and preserved. 

Made with custom software using Processing.org and Java. 3D model creation via custom python scripting in Blender. NFT owner unlocks exclusive access to 8K GLB file. Experience more including a 36K zoom at NFT Portal: https://collect.mattkane.com/minted-works/first/ 