introduction
artists
committee
jurors
panels
working artists

 

 
 
 
Hans Dehlinger
(click on thumbnail to view larger version)

artist statement | technical statement | process



artist statement
When walking through a landscape in snow, we observe many types of linear structures. The tree as a metaphor and as an element of landscapes is a familiar image and a poetic reminder to enjoy life. What I am trying to communicate through my work are interpretations of the mysteries and tragedies, that surround us.

Computer generated artwork, based on line-drawings, is challenging for a number of reasons. It makes use of lines as the characteristic element of the generative process, and the results rely entirely on the calligraphic qualities of the lines.

Besides the heritage of hand drawings, which we conceive as a fantastically rich universe, we may conceive an equally fantastic universe of machine drawings. Line-drawings populating this universe should exhibit qualities in their own right.

For instance: exploit algorithmic techniques; be not reproducible by hand; show that they have been drawn by a machine; achieve a distinct and unique type of structuring; belong to an own identifiable universe; exhibit strong calligraphic qualities; make the question ''how was it done?'' entirely unimportant.

Lines are very simple geometric structures and at the same time inexhaustible rich elements of artistic expressions. This is one of the main reasons why I like to work with lines. From the vastness of possible structural descriptions of lines I have chosen a personal definition, which makes these lines distinctly and in an identifiable way my lines. For the generation of such lines, relevant feature values are: number of starting points; number of lines originating from a given point; angular boundary for a polygon; spread of a segment; number of segments in a polygon. In statu nascendi, when a line is developing on a piece of paper, it does so from a unique starting point. It is the starting point, which calls for the first decision in a drawing process, no matter if the hand of an artist, or a computer driven device is steering the pen.

The question of starting points and the question of the "character" of the line developing from those points have to be taken care of by the program. Especially interesting are two sets of algorithms, those, which generate drawings in a "one-shot" generative process, and those making use of "composite" processes.