It is expected that machines will be able to generate paintings on canvas in real time autonomously, creating news choices in areas of artistic reproduction and production; replacing the pictorial hand movement of the painter. Then will emerge radically new questions, concerning the understanding of art and even the nature of our relationship to the creation. The convergence of the real and virtual worlds impacts today not only communication and information, but also art in its modernity with such importance, that painters may not ignore the possibilities offered by the development of interfaces during the last decade.
Faced with the possibilities offered by data processing painting, the artist must reconsider the relationship between the artistic gesture and the paint on the canvas namely the relation between the invisible and the visible, between palpable product and model, between picture and its symbolic double and the contribution of the metaphorical, mathematical, intellectual and sensual to the essence of the pictorial work.
The digital irony holds in that, henceforth the pictorial image, escaping the sphere of metaphors, is joining the world of models, at the same time that the potential image that, seeking to compensate its clean limit, proposes tactility, textural and pictural analogies that allow it to interface real & virtual worlds.
- Jean-Paul Longavesne (France), Ecole National des Arts Decoratif de Paris