DATAPAINTING.COM

Painting with data, data as input, pictures as output.

Each picture is a dynamic composition which results from a program. In programs, some parameters vary randomly or according to data suitable for the moment and the technical context in which the picture generation takes place. Each picture is thus a representation in the field of possibles ones created by the code. Each picture is then a possible element of infinite and disordered series.

Furthermore, the perpetual balance and interaction between physical world digitalized by sensors, such as photographic devices, and digital world where data transformed into picture can become physically perceptible, produce a set of visions about a future where both worlds converge into a synthetic reality.

News

08/2009: Datapainting mentioned in "Synthetic Landscapes" workshop, organized by Aoibheann ni Mhearain and David Healy.

05/2009: A Chat with Max Eternity, Art Digital Magazine, May 13, 2009.

04/2009: Datapainting referenced by Anaïs Guilet in NT2 database

04/2009: Local context - Remote Data in "Un Jour Une Oeuvre" online exhibition curated by Alexis Monville

03/2009: Publication of a mixed serie called "Metaphor of the Merchant's Table" in /seconds issue 10, ISSN 1751-4134 Useless Beauty and Fuzzy Logic: correlations of violence.

03/2009: "Squares third generation" exhibited at la base d’Appui d'Entre-deux, Nantes, during "Si j’avais un marteau!" exhibition.

01/2009: « Remix: The Bond of Repetition and Representation » , Eduardo Navas , contains an updated review of " le catalogue " on vagueterrain.net.

04/2008: dumb art. some thoughts about "Datascapes " by Scanci in Sarahbase.

03/2008: Datapainting.com in Network Research blog - by Garrett Lynch.

10/2007: Le catalogue in M/C Journal, "Error, the Unforeseen, and the Emergent - The Error and Interactive Media Art" - by Tim Barker

06/2007: Le Catalogue at TELIC, Los Angeles, California, during "The Latency of the Moving Image in New Media" exhibition curated by Eduardo Navas.

© Yann Le Guennec / contact: yann at datapainting.com

Imaginary spimes (2009)

In this serie of still pictures, i use pictures generated by previous works in addition with pictures of things in order to produce poetic scenarios for the internet of things.

Shell / Apple / Stone / Urchin

Twitter Mountains (2009)

Limits of abstraction (2009)

12 static compositions. Abstraction is not only in the photographic shapes, it emerges from the relation between two pictures and the elastic context of this relation, here, the browser window.

Squares, third generation (2008)

4 white squares, which size depends on your IP address, are superposed on "Carré", a picture from Antoine Moreau, created on the basis of "Triptyque des formes primaires ; Carré" de Yann Le Guennec, 1995-2008. As a code, the image is always the same, but as a picture, the image is always different, according to viewer's point of view on the global network, that is: it's IP address. This work is under a free art licence.

Instants colors (2008)

Text randomly produced during the "Instant Portrait" online performance on panoplie.org website (11/2008) is converted into an image and then superposed to pictures from a micro-installation made on the beach with found materials (09/2006).

+ picture with text + picture with text full screen

The thickness of the line (2008)

The thickness of the line is the interval between minutes and seconds.

local context / remote data (2008)

Local context: a picture from local environment. Remote data: any set of data available on the network and transformed into a picture.

Juxtaposition / Superposition

Datascapes

Some principles from other works in datapainting.com are synthesized in a single online interface. Input-gallery contains photos from installations, output-gallery contains datascapes generated by users from input-gallery and a set of filters, using for example Apache log files or texts from mails currently circulating on the network.

IPlog (2007)

IP addresses are extracted from access_log files and transformed into superposed polygons.

statvis (2006)

A set of visualizations that are based on the IP numbers of online visitors. The main principle is that the numerical values of the IP address is mapped onto the values of red, green, or blue in the RGB space, & onto the spatial positions of the visual elements. The number of times the same IP connects provides additional cues such as circle size, line width & so on.

Poietic aggregator (2005)

a treemap-like HTML visualization that is capable of representing the keywords present within multiple RSS feeds, for instance those from various Internet sites (e.g. wikis, blogs, news websites, search engines). the map represents multiple feeds as smaller rectangles, that in turn contain the individual entries. the different colors are associated to various user-chosen keywords discovered within the text entries. the last modified entry is positioned in top on the left, the oldest in bottom on the right. (inspired by Poietic Generator by Olivier Auber)

Infoscape

a sort of a real-time, on-demand Pollock painting producer, but instead of canvas and paint, it's using data from a vast array of IP host addresses.

Infoscape: composer (2004)

#1 #2

Le catalogue (2003)

The catalogue contains representations of objects and installations realized between 1990 and 1996. These representations are gradually deteriorated by the users of the catalogue. The single fact of consulting a catalogue's page adds a double stripe in the form of a cross. The combination of the observation's time and the observer's point of view modifies the observed object and transforms it gradually into an abstracted image. Observed objects become sets of observers marks.

spider as artist, tribute to Niele Toroni. (2003)

The spider is conceived to produce an autonomous show of paintings in a public exhibition space. Paintings are made by the program according to data given by online interface users. Paintings are output representations of URIs provided as input. The show is a loop composed with online produced paintings.