Aleatoric Artists of the 21st Century
Text by Ray Cabarga
Text by Ray Cabarga
Organizing Chaos: Martin Waugh Catches Nature in the Act of Creating Art
The intangible ability of liquids to randomly morph into endless free-flowing formations is due to the short-range
structural regularity of liquid atoms which are semi-organized in bundles that move in relation to each other. When
liquid becomes airborn, its atomic structure and surface tension interacts with atmospheric pressure and gravity to
give the formations a continuity which, to the artists eye, is analogous to the thickness of a brush stroke, or the
resolution of a digital image.
Through a mastery of high-speed photography, Martin Waugh freezes time- effectively sculpting water into
solid-seeming forms of surprising precision and symmetry... forms that normally occur too briefly for the human eye
to observe. By harnessing the potential of natures fundamental relationships between water, air, gravity, and
time, the artist offers us images of astounding aleatoric beauty and grace.
The intangible ability of liquids to randomly morph into endless free-flowing formations is due to the short-range
structural regularity of liquid atoms which are semi-organized in bundles that move in relation to each other. When
liquid becomes airborn, its atomic structure and surface tension interacts with atmospheric pressure and gravity to
give the formations a continuity which, to the artists eye, is analogous to the thickness of a brush stroke, or the
resolution of a digital image.
Through a mastery of high-speed photography, Martin Waugh freezes time- effectively sculpting water into
solid-seeming forms of surprising precision and symmetry... forms that normally occur too briefly for the human eye
to observe. By harnessing the potential of natures fundamental relationships between water, air, gravity, and
time, the artist offers us images of astounding aleatoric beauty and grace.
A patient stalker of moments
The law of averages dictates that even amidst confusion and chaos, there is an equal chance that perfection and
harmony prevail- if only for a fleeting instant. Imagine if your perception was so acute that you could divide every
thought in your mind an.infinite number of times and observe the process of thinking itself... You might discover,
within every thought, one instant where you were a genius and another in which you were insane. And what if
you could see every possibility in every moment, and had the time to choose the right one. Stoffel DeRoover's
smoke art photography transcends time and space to effectively capture the intangible and allow us to appreciate
what, otherwise, would have been lost forever in an endless precession of moments in transition. He will stake
out a billow of smoke and, with laser precision, ambush the ephemeral gauze at that precise moment when it
unwittingly does his bidding.
The law of averages dictates that even amidst confusion and chaos, there is an equal chance that perfection and
harmony prevail- if only for a fleeting instant. Imagine if your perception was so acute that you could divide every
thought in your mind an.infinite number of times and observe the process of thinking itself... You might discover,
within every thought, one instant where you were a genius and another in which you were insane. And what if
you could see every possibility in every moment, and had the time to choose the right one. Stoffel DeRoover's
smoke art photography transcends time and space to effectively capture the intangible and allow us to appreciate
what, otherwise, would have been lost forever in an endless precession of moments in transition. He will stake
out a billow of smoke and, with laser precision, ambush the ephemeral gauze at that precise moment when it
unwittingly does his bidding.
A macroscopic pond will yield an aleatoric fish
Stefan Beyst’s circumspect approach combines the theory, philosophy, and history of art, with an understanding
of art's impact on all things in life from love and ego to progeny and prophecy. Perhaps that’s why his images
inspire us to abandon preconceptions about what we are seeing, and rather than see what we have learned
these optical frequencies represent, we tend to see the colors, forms and contrasts which our eyes truly receive.
Beyst’s digital photography insists we discard assumptions as to “what thing this is, and what it means to us.”
Thus shifting our focus to the artistic qualities present in all things. Beyst questions the direction of art today,
citing an apathetic drift toward duplication of reality with accuracy to the original as the gauge of merit, and the
paucity of the creative vision and conceptual innovation that defines art. As a digital photographer, the artist
presents his work on the digital screen; looking ahead to a future technology which frees the artist from the
constraints of 2-dimensional screen or print presentation.
Stefan Beyst’s circumspect approach combines the theory, philosophy, and history of art, with an understanding
of art's impact on all things in life from love and ego to progeny and prophecy. Perhaps that’s why his images
inspire us to abandon preconceptions about what we are seeing, and rather than see what we have learned
these optical frequencies represent, we tend to see the colors, forms and contrasts which our eyes truly receive.
Beyst’s digital photography insists we discard assumptions as to “what thing this is, and what it means to us.”
Thus shifting our focus to the artistic qualities present in all things. Beyst questions the direction of art today,
citing an apathetic drift toward duplication of reality with accuracy to the original as the gauge of merit, and the
paucity of the creative vision and conceptual innovation that defines art. As a digital photographer, the artist
presents his work on the digital screen; looking ahead to a future technology which frees the artist from the
constraints of 2-dimensional screen or print presentation.
Haven’t you noticed the world looks like this.
“Evolutions greatest hits.” “Nature and technology lose themselves in each other.” “Explosions in a pigment
factory,” “Look it’s a...Wait, no it’s not.” David Lancaster's artworks both defy descriptions, and inspire them. As
celebrations of color, texture, emotion, and energy, they bring light to the eye in an inarguable joyous way. His
pieces have a ongoing quality creating a sense of curiosity by implying what goes on beyond the canvases edge.
His nature photography seems to zero in on the essential moments in a landscape to suggest its entirety. Or
create a subliminal focal point by capturing the movement of the subject while only implying its particulars.
“Portraits of wind.” “The jagged edge of a graceful curve.” “A look inside the mind of a flower.” I could go on all
day— or until Mr. Lancaster makes me leave his studio and go home.
“Evolutions greatest hits.” “Nature and technology lose themselves in each other.” “Explosions in a pigment
factory,” “Look it’s a...Wait, no it’s not.” David Lancaster's artworks both defy descriptions, and inspire them. As
celebrations of color, texture, emotion, and energy, they bring light to the eye in an inarguable joyous way. His
pieces have a ongoing quality creating a sense of curiosity by implying what goes on beyond the canvases edge.
His nature photography seems to zero in on the essential moments in a landscape to suggest its entirety. Or
create a subliminal focal point by capturing the movement of the subject while only implying its particulars.
“Portraits of wind.” “The jagged edge of a graceful curve.” “A look inside the mind of a flower.” I could go on all
day— or until Mr. Lancaster makes me leave his studio and go home.
Ray Cabarga, bored to disruption of the public school system, spent much of his childhood staring at the sprayed
foam insulation on the classroom ceiling. finding a vehicle for his imagination in the chaos and thus beginning his
lifelong passion for the aleatoric. As an adult he uses traditional mediums in unconventional ways to create chaotic
underpaintings called oozings to which he adds ink to accentuate the endless forms and figures his paint creates
all by itself. His latest body of work called "inked oozings" is a realization of his childhood dreams. Dreams he would
not have had if not for his many boring teachers..
Read Ray's recent rhapsody regarding random rendering HERE
foam insulation on the classroom ceiling. finding a vehicle for his imagination in the chaos and thus beginning his
lifelong passion for the aleatoric. As an adult he uses traditional mediums in unconventional ways to create chaotic
underpaintings called oozings to which he adds ink to accentuate the endless forms and figures his paint creates
all by itself. His latest body of work called "inked oozings" is a realization of his childhood dreams. Dreams he would
not have had if not for his many boring teachers..
Read Ray's recent rhapsody regarding random rendering HERE
Awakening spirits ever present but never noticed
Alex Volborth’s interest in art history, world cultures and spiritualism play a major role in his particular brand of
found art photography, which seamlessly blends decaying objects with natural geological phenomena. To call his
work simply ‘found art’ doesn’t suffice... 'found artifacts' or 'undiscovered art' would describe it better, as his photos
may include anything from a rock formation bearing a resemblance to the Edvard Munch painting, “The Scream,” to a
small skeleton of an unknown animal perfectly silhouetted in red sandstone. But whether it's a rusty piece of a
broken bicycle or an old Sicilian ash tray, Volborth shows us more than that with his uncanny ability to bring out art
in the mundane, and create the sense that he is uncovering a secret by showing for the first time what has been
there all along.
Alex Volborth’s interest in art history, world cultures and spiritualism play a major role in his particular brand of
found art photography, which seamlessly blends decaying objects with natural geological phenomena. To call his
work simply ‘found art’ doesn’t suffice... 'found artifacts' or 'undiscovered art' would describe it better, as his photos
may include anything from a rock formation bearing a resemblance to the Edvard Munch painting, “The Scream,” to a
small skeleton of an unknown animal perfectly silhouetted in red sandstone. But whether it's a rusty piece of a
broken bicycle or an old Sicilian ash tray, Volborth shows us more than that with his uncanny ability to bring out art
in the mundane, and create the sense that he is uncovering a secret by showing for the first time what has been
there all along.
The scars of a battle between man and his environment
The patterns and mutations arising from natures inevitable erosion, destruction, and attrition of man’s attempts at
glossing-over, or imposing uniformity upon the chaos that is the natural order of our world is where Howard Pugh
finds his expression. Like most Aleatoric visions, nature plays a major role. But the beauty of this artists images is
found where man’s interference with natural chaos is thwarted or in the process of being reclaimed by the
elements. A section of oxidized, or weather worn, corrugated steel wall. Semi-uniform cracking patterns in
weathered paint that seem to re-scale, but not change, depending on the thickness or thinness of the coat,
Details of abrasions patterns in epoxy coatings, or dendrites forming in the fissures of a shattered surface. All
these things are candidates for exploitation as art. Howard Pugh’s art compellingly suggests the tension created
by the dichotomy between man’s desire to control his environment and Natures desire to return it to its original
state of peaceful chaos, the disorder that prevails after the dust settles and all is at rest.
The patterns and mutations arising from natures inevitable erosion, destruction, and attrition of man’s attempts at
glossing-over, or imposing uniformity upon the chaos that is the natural order of our world is where Howard Pugh
finds his expression. Like most Aleatoric visions, nature plays a major role. But the beauty of this artists images is
found where man’s interference with natural chaos is thwarted or in the process of being reclaimed by the
elements. A section of oxidized, or weather worn, corrugated steel wall. Semi-uniform cracking patterns in
weathered paint that seem to re-scale, but not change, depending on the thickness or thinness of the coat,
Details of abrasions patterns in epoxy coatings, or dendrites forming in the fissures of a shattered surface. All
these things are candidates for exploitation as art. Howard Pugh’s art compellingly suggests the tension created
by the dichotomy between man’s desire to control his environment and Natures desire to return it to its original
state of peaceful chaos, the disorder that prevails after the dust settles and all is at rest.
The universal language of metaphor has been enhanced
Somewhere between dry white paper and wet black ink, there is art held in suspension. From deep within the heart
of his aleatoric muse, Ted Lincoln draws out cloudbursts of blinding darkness and billowy nether worlds of hidden
light in a cacophony of contrasts created with harsh industrial materials that seem incongruous with the
transcendent beauty of his images. Artistry of a caliber that we rarely see and yet we feel an immediate sense of
familiarity with these forms and figures that speak so clearly to our emotions yet remain mysterious to our intellect.
Lincoln’s artworks defy critique with their expressive beauty and deny indifference with their emotional poignancy.
Somewhere between Eastern traditional Sumi paintings and the surreal science-fiction avante garde lies the work of
Ted Lincoln. A unique aleatoric master who transcends the context of black and white, making the rest of the
spectrum of light seem superfluous.
Somewhere between dry white paper and wet black ink, there is art held in suspension. From deep within the heart
of his aleatoric muse, Ted Lincoln draws out cloudbursts of blinding darkness and billowy nether worlds of hidden
light in a cacophony of contrasts created with harsh industrial materials that seem incongruous with the
transcendent beauty of his images. Artistry of a caliber that we rarely see and yet we feel an immediate sense of
familiarity with these forms and figures that speak so clearly to our emotions yet remain mysterious to our intellect.
Lincoln’s artworks defy critique with their expressive beauty and deny indifference with their emotional poignancy.
Somewhere between Eastern traditional Sumi paintings and the surreal science-fiction avante garde lies the work of
Ted Lincoln. A unique aleatoric master who transcends the context of black and white, making the rest of the
spectrum of light seem superfluous.
When the boundaries of imagination no longer apply
After exhaustive research we have come to the startling conclusion that there is no way to explain how the work
of Zoran Zugic could have come into existence. His masterful technique and virtuostic ability would indicate a
mature wisdom and educated understanding of the physical world and how it is represented in art, and all that is
certainly in play here. So, how then would an accomplished self-realized artist, much less a human being, concoct
images of such dizzying incomprehensibility as to shock and baffle a viewer that has made a life’s work out of
suspending disbelief? Zugic’s realm is one where infinite varieties of unknown-life-like forms, and semi-physical
objects amalgumated beyond recognizability, are seamlessly intertwined to create ghastly yet wonderful being-
world-landscape-abstractions that are both realistic and unbelievable at the same time. His use of light and color
may suggest a cheerful impressionistic scene but his decisions about what can be superimposed, juxtaposed, or
even proposed at all, appear to have been made from a perspective that defies human nature’s tendency to relate
to, or even deviate from, something that could exist, somewhere in the known universe. The aleatoricism of Zoran
Zugic’s art lies in the one-in-a-billion chance of his vision, not to mention the unlikelihood of ever coming across an
artist such as he.
After exhaustive research we have come to the startling conclusion that there is no way to explain how the work
of Zoran Zugic could have come into existence. His masterful technique and virtuostic ability would indicate a
mature wisdom and educated understanding of the physical world and how it is represented in art, and all that is
certainly in play here. So, how then would an accomplished self-realized artist, much less a human being, concoct
images of such dizzying incomprehensibility as to shock and baffle a viewer that has made a life’s work out of
suspending disbelief? Zugic’s realm is one where infinite varieties of unknown-life-like forms, and semi-physical
objects amalgumated beyond recognizability, are seamlessly intertwined to create ghastly yet wonderful being-
world-landscape-abstractions that are both realistic and unbelievable at the same time. His use of light and color
may suggest a cheerful impressionistic scene but his decisions about what can be superimposed, juxtaposed, or
even proposed at all, appear to have been made from a perspective that defies human nature’s tendency to relate
to, or even deviate from, something that could exist, somewhere in the known universe. The aleatoricism of Zoran
Zugic’s art lies in the one-in-a-billion chance of his vision, not to mention the unlikelihood of ever coming across an
artist such as he.
Art exists, and the artist brings it to our attention
Russian born Ciro Totku resides and does his work in Cambodia. The incidental detritus and trivial minutia of
his environment provides an endless source of inspiration for Totku, whose clean and minimalist style relies on
simple forms and textures of a calming and meditative nature to set the stage for a focal point that is
subliminally implied. Unlike most other aleatoric art, Totku’s work initially conveys a serenity that is immediately
apparent, yet there is an underlying element of unrest and burgeoning upheaval looming just beyond sight,
from which the viewer finds a precarious sanctuary in the symmetries of his solid open fields of abstract context,
only to be pierced by sudden surreal jarring representations. Using the.medium of photography, Totku reaches
out from the confines of our superficial dimensions of perception, and finds art where.it lies dormant and hidden.
Russian born Ciro Totku resides and does his work in Cambodia. The incidental detritus and trivial minutia of
his environment provides an endless source of inspiration for Totku, whose clean and minimalist style relies on
simple forms and textures of a calming and meditative nature to set the stage for a focal point that is
subliminally implied. Unlike most other aleatoric art, Totku’s work initially conveys a serenity that is immediately
apparent, yet there is an underlying element of unrest and burgeoning upheaval looming just beyond sight,
from which the viewer finds a precarious sanctuary in the symmetries of his solid open fields of abstract context,
only to be pierced by sudden surreal jarring representations. Using the.medium of photography, Totku reaches
out from the confines of our superficial dimensions of perception, and finds art where.it lies dormant and hidden.
Nothing is safe from becoming aleatoric art
A generous scattering of seemingly random objects add dimension and excitement to Vickie Marsagno’s
artwork, much of which she feels happens purely by chance. At one time even declining to take credit for some of
it, Marsagno realizes now that she, as the artist, acted as a channel for a higher spiritual energy. Marsagno’s
textural elements go far beyond a few dabs of gel medium. She uses bits of broken china, lumber, driftwood,
parts of screen doors, stones, electrical cords with outlets, and even an occasional guitar if she feels the work
demands it. And she’s not afraid to lay on the paint, layer upon layer, all of which contribute to an intensely
passionate yet often playfully childlike art experience. Unlike anything you’re likely to have seen, Vickie Marsagno’
s art rocks...with real rocks!
A generous scattering of seemingly random objects add dimension and excitement to Vickie Marsagno’s
artwork, much of which she feels happens purely by chance. At one time even declining to take credit for some of
it, Marsagno realizes now that she, as the artist, acted as a channel for a higher spiritual energy. Marsagno’s
textural elements go far beyond a few dabs of gel medium. She uses bits of broken china, lumber, driftwood,
parts of screen doors, stones, electrical cords with outlets, and even an occasional guitar if she feels the work
demands it. And she’s not afraid to lay on the paint, layer upon layer, all of which contribute to an intensely
passionate yet often playfully childlike art experience. Unlike anything you’re likely to have seen, Vickie Marsagno’
s art rocks...with real rocks!
Don’t push the river- The river flows by itself
The aleatoric aspect of Lorene Anderson’s current series of abstract paintings lies in the methods by which she
applies her paints and mediums. Anderson’s experiments involve controlling the angle of repose and allowing
gravity to guide the paints movement in more subtle ways in order to create a more organic effect, often
resembling nerve networks or tree branches. Studying how mediums of various viscosities and solvent bases
react when mixed or held in colloidal suspension gives Anderson control of how colors either blend together and
feather, or repel each other causing webbing or marbling effects. Her subtle use of color and subdued tonal values
enhance the effect by suggesting a more natural artistic impetus behind the designs and forms, and enhances the
freedom from the characteristic human brush stroke produced by linear intention.
The aleatoric aspect of Lorene Anderson’s current series of abstract paintings lies in the methods by which she
applies her paints and mediums. Anderson’s experiments involve controlling the angle of repose and allowing
gravity to guide the paints movement in more subtle ways in order to create a more organic effect, often
resembling nerve networks or tree branches. Studying how mediums of various viscosities and solvent bases
react when mixed or held in colloidal suspension gives Anderson control of how colors either blend together and
feather, or repel each other causing webbing or marbling effects. Her subtle use of color and subdued tonal values
enhance the effect by suggesting a more natural artistic impetus behind the designs and forms, and enhances the
freedom from the characteristic human brush stroke produced by linear intention.
A visionary at whom we can only stare agape in wonder
Aleatoric art is at its ultimate pinnacle of excellence when the planets align in a harmonic convergence and the
cosmic energy of the universe is focused in the precise coordinates so as to invoke the divine spirit of the celestial
spheres and some guy blows up sheet metal balloons with a garden hose. But only when that guy is Andrew
Schrock, an extraordinarily talented master weldsman and torchist who has devoted his life to bringing this
magnificent art form to the world. Schrock's precedent setting creations come to fruition in his state-of-the-art
studio workshop behind the old abandoned Pep Boys where one can find the artist almost any hour of any day
deeply immersed in his most current project, and about 6 inches of standing water. The very same water whose
awesome power provides the driving force behind blowing these things up. Toiling tirelessly for weeks on just one
piece, Schrock will do his best to seal every juncture with his arc welder which he wields with the skill and
precision of a surgeon. And then the creative process begins. A precise length of 1/2 inch garden hose has one
end attached to a spigot and the other to a precision fitted adapter nozzle through which pure di-hydrogen
monoxide is forced directly into the artwork and the amazing transformation begins. As if by forces beyond our
understanding the universal solvent actually expands and distorts the metallic substrate into bulbous balloon-like
formations of transcendent beauty and perfection. The work is complete when the pressure inside the sculpture
has reached critical mass and shell breach occurs, spewing highly corrosive di-hydrogen monoxide (A substance
lethal to humans in large quantities that has been known to erode solid rock) as far as two feet in the air. And
thus another amazing sheet metal balloon is manifested and stands as a monumental testament to mans
helplessness against the forces of nature and the genius of Andrew Schrock, one of the great aleatoric art artists
of our time.
Aleatoric art is at its ultimate pinnacle of excellence when the planets align in a harmonic convergence and the
cosmic energy of the universe is focused in the precise coordinates so as to invoke the divine spirit of the celestial
spheres and some guy blows up sheet metal balloons with a garden hose. But only when that guy is Andrew
Schrock, an extraordinarily talented master weldsman and torchist who has devoted his life to bringing this
magnificent art form to the world. Schrock's precedent setting creations come to fruition in his state-of-the-art
studio workshop behind the old abandoned Pep Boys where one can find the artist almost any hour of any day
deeply immersed in his most current project, and about 6 inches of standing water. The very same water whose
awesome power provides the driving force behind blowing these things up. Toiling tirelessly for weeks on just one
piece, Schrock will do his best to seal every juncture with his arc welder which he wields with the skill and
precision of a surgeon. And then the creative process begins. A precise length of 1/2 inch garden hose has one
end attached to a spigot and the other to a precision fitted adapter nozzle through which pure di-hydrogen
monoxide is forced directly into the artwork and the amazing transformation begins. As if by forces beyond our
understanding the universal solvent actually expands and distorts the metallic substrate into bulbous balloon-like
formations of transcendent beauty and perfection. The work is complete when the pressure inside the sculpture
has reached critical mass and shell breach occurs, spewing highly corrosive di-hydrogen monoxide (A substance
lethal to humans in large quantities that has been known to erode solid rock) as far as two feet in the air. And
thus another amazing sheet metal balloon is manifested and stands as a monumental testament to mans
helplessness against the forces of nature and the genius of Andrew Schrock, one of the great aleatoric art artists
of our time.
Wearing your art on your sleeve
A body of work that is ancient and primitive, yet innovative and avant garde, will always be timeless and relevant.
Apparently circumnavigating the limitations of current aesthetic propensities in the art world, Kseniya Nelasova,
painter and textile artist, unites the canvas (context) and the art (subject) to create a natural relationship
between form (concept) and function (physicality). This is the formula by which aleatoric art eliminates the
possibility of being pretentious, which is a primary factor in it's appeal. References to tribal African art, ancient
Egyptian relics, animal pelt apparel of the Andies and Tibet, right along with modern high fashion and a touch of
art deco give Nelasova's work a cross-cultural appeal by speaking the universal language of metaphor that is the
basis of all forms of art at it's highest level. Weaving the fabric of time into an infinite circle by invoking spirits of
antiquity while maintaining a prophetic vision is the basis of a phenomenon that has historically brought about the
transfiguration of folk craft to the higher spiritual station of fine art. Kseniya Nelasova offers us a literal example of
that phenomenon in effect.
A body of work that is ancient and primitive, yet innovative and avant garde, will always be timeless and relevant.
Apparently circumnavigating the limitations of current aesthetic propensities in the art world, Kseniya Nelasova,
painter and textile artist, unites the canvas (context) and the art (subject) to create a natural relationship
between form (concept) and function (physicality). This is the formula by which aleatoric art eliminates the
possibility of being pretentious, which is a primary factor in it's appeal. References to tribal African art, ancient
Egyptian relics, animal pelt apparel of the Andies and Tibet, right along with modern high fashion and a touch of
art deco give Nelasova's work a cross-cultural appeal by speaking the universal language of metaphor that is the
basis of all forms of art at it's highest level. Weaving the fabric of time into an infinite circle by invoking spirits of
antiquity while maintaining a prophetic vision is the basis of a phenomenon that has historically brought about the
transfiguration of folk craft to the higher spiritual station of fine art. Kseniya Nelasova offers us a literal example of
that phenomenon in effect.
A new wrinkle on aleatoric art
Allan Rodewald’s experimentation and versatility with a wide variety of traditional and cutting-edge artistic
techniques, styles and mediums coalesce to sire yet a new take on aleatoric art. A kind of choreographed chaos or
directed entropy make his brand of aleatoric abstraction both accessible to the uninitiated while permitting him to
stretch further than pure aleatoria alone can by establishing minimal governing parameters which act as a
perceptual reference point for his cacophonous peregrinations to juxtapose, contrast, or simply enjoy the context
of. By slightly narrowing the gamut of possibility, Rodewald reveals a delicate serendipity that unbridled
pandemonium would obliterate. Once again illustrating that freedom is appreciated only relative to that from which
it is free.
Allan Rodewald’s experimentation and versatility with a wide variety of traditional and cutting-edge artistic
techniques, styles and mediums coalesce to sire yet a new take on aleatoric art. A kind of choreographed chaos or
directed entropy make his brand of aleatoric abstraction both accessible to the uninitiated while permitting him to
stretch further than pure aleatoria alone can by establishing minimal governing parameters which act as a
perceptual reference point for his cacophonous peregrinations to juxtapose, contrast, or simply enjoy the context
of. By slightly narrowing the gamut of possibility, Rodewald reveals a delicate serendipity that unbridled
pandemonium would obliterate. Once again illustrating that freedom is appreciated only relative to that from which
it is free.
Roswell, New Mexico or Chuck E. Cheese?
Who knew such mysterious and terrifying creatures lurked deep within the unfathomable world of your kitchen
cupboard. No, that wasn't a rhetorical question, and the answer is Courtney Hoskins. Her startling and surreal
photographs look like scenes from science fiction movies, or space probe satellite images from NASA, yet the
objects she uses in her images were found around the house, heated to temperatures equal to that of the surface
of a strike-anywhere match and photographed through a polarizing filter. Hoskins taps into an aleatoric universe
through the use of one of the most powerful supercomputers on the planet: her mind, and has mastered the
software application used by every creative genius that ever lived: Imagination. Many people have put cellophane
and plastic cutlery in a toaster oven, but all they did was ruin their dinner and set off the fire alarm. When
Courtney Hoskins does it, aleatoric art is served.
Who knew such mysterious and terrifying creatures lurked deep within the unfathomable world of your kitchen
cupboard. No, that wasn't a rhetorical question, and the answer is Courtney Hoskins. Her startling and surreal
photographs look like scenes from science fiction movies, or space probe satellite images from NASA, yet the
objects she uses in her images were found around the house, heated to temperatures equal to that of the surface
of a strike-anywhere match and photographed through a polarizing filter. Hoskins taps into an aleatoric universe
through the use of one of the most powerful supercomputers on the planet: her mind, and has mastered the
software application used by every creative genius that ever lived: Imagination. Many people have put cellophane
and plastic cutlery in a toaster oven, but all they did was ruin their dinner and set off the fire alarm. When
Courtney Hoskins does it, aleatoric art is served.
Even his name suggests aleatoric art
Mike Bloom is an aleatoric artist in the truest sense of the word. He sets the stage (canvas) choses the players
(colors) and lets them do what they will gently coaxing or influencing the paint rather than try to dictate its every
move and the result is something no traditional painter would ever be able to duplicate. The human mind doesn’t
make design decisions the way nature does, nature is illogical and illogic is rare and beautiful. His name is a double
aptonym: Bloom as in the realization of a flowers potential and the movement in his paintings suggest the opening
of petals to embrace the sun; or Bloom as in Ka-BLOOM! The sound of an explosion which is what many of his
paintings do, explode into a massive conflagration of scintillating color or star bursts
in the night sky.
Mike Bloom is an aleatoric artist in the truest sense of the word. He sets the stage (canvas) choses the players
(colors) and lets them do what they will gently coaxing or influencing the paint rather than try to dictate its every
move and the result is something no traditional painter would ever be able to duplicate. The human mind doesn’t
make design decisions the way nature does, nature is illogical and illogic is rare and beautiful. His name is a double
aptonym: Bloom as in the realization of a flowers potential and the movement in his paintings suggest the opening
of petals to embrace the sun; or Bloom as in Ka-BLOOM! The sound of an explosion which is what many of his
paintings do, explode into a massive conflagration of scintillating color or star bursts
in the night sky.
A funny thing happened on the way to aleatoria
Somewhere between representation and abstraction J Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and passion hidden within diaphanous veils of liquid flesh. Floral
fluids teeming with twisted crickets. Tortured spirits embroiled in gaseous infernos. Nebulous glacial prehistoria
infected with fractal reflections and vitreous pathogens. Sultry vaporous nymphs smoldering in the molten pools of
aleatoric magma from which the earliest signs of art emerged. The mysterious images of J Coleman Miller evoke
wonder and delight without allowing us to fall victim to our usual inner censor who squelches the child in us and
casts judgement based on what is known. Miller's art invites us to see what we don’t yet believe.
Somewhere between representation and abstraction J Coleman Miller finds a new kind of surrealist
expressionism. Eerie aqueous faces of angst and passion hidden within diaphanous veils of liquid flesh. Floral
fluids teeming with twisted crickets. Tortured spirits embroiled in gaseous infernos. Nebulous glacial prehistoria
infected with fractal reflections and vitreous pathogens. Sultry vaporous nymphs smoldering in the molten pools of
aleatoric magma from which the earliest signs of art emerged. The mysterious images of J Coleman Miller evoke
wonder and delight without allowing us to fall victim to our usual inner censor who squelches the child in us and
casts judgement based on what is known. Miller's art invites us to see what we don’t yet believe.
Robert Venosa — Channeling light through transcendent technique
When we speak of virtuosic technique we may, at times, cite the artists propinquity to perfect realism as a gauge.
When an artist surpasses perfect realism and continues beyond the known into a realm never before imagined, we
are speaking of transcendent technique and one has to wonder could such skill be learned and mastered by
traditional methods of diligent labor and perspicacious study or has the artist evolved to become a channel through
which pure light may pass and where he chooses to impede that light, is where paint falls? In every piece of art by
Robert Venosa we see evidence of both, and probably more.
When we speak of virtuosic technique we may, at times, cite the artists propinquity to perfect realism as a gauge.
When an artist surpasses perfect realism and continues beyond the known into a realm never before imagined, we
are speaking of transcendent technique and one has to wonder could such skill be learned and mastered by
traditional methods of diligent labor and perspicacious study or has the artist evolved to become a channel through
which pure light may pass and where he chooses to impede that light, is where paint falls? In every piece of art by
Robert Venosa we see evidence of both, and probably more.
Just when you thought you had chaos neatly organized and under control someone comes up with a new way of
throwing a monkey wrench. Mark Stock’s work is to aleatoric art what virtual reality is to, well, reality. Extremely
complex fluid dynamic.simulation software capable of generating algorithms for multilayered patterns of interaction
between physical forces allows Stock to create startling images of the surprisingly organic yet surreal quality which
characterizes his unique brand of aleatoric.art. The appearance of water boiling, for example, is a result of the
effects of viscosity, inertia, baroclinicity, combustion, heat transfer, surface tension, reflection, and refraction, among
others, all engaged in an elaborate ballet of interaction. Mark Stock choreographs these physical forces in simulation,
often experimenting with combinations that could not occur in the physical universe. By digitally imaging the resultant
patterns Stack shows us forms that appear natural, yet we would otherwise never encounter in a million years of
observation.
throwing a monkey wrench. Mark Stock’s work is to aleatoric art what virtual reality is to, well, reality. Extremely
complex fluid dynamic.simulation software capable of generating algorithms for multilayered patterns of interaction
between physical forces allows Stock to create startling images of the surprisingly organic yet surreal quality which
characterizes his unique brand of aleatoric.art. The appearance of water boiling, for example, is a result of the
effects of viscosity, inertia, baroclinicity, combustion, heat transfer, surface tension, reflection, and refraction, among
others, all engaged in an elaborate ballet of interaction. Mark Stock choreographs these physical forces in simulation,
often experimenting with combinations that could not occur in the physical universe. By digitally imaging the resultant
patterns Stack shows us forms that appear natural, yet we would otherwise never encounter in a million years of
observation.
Fung Kwok Pan is a rare combination inventor, scientist, and artist who uses the algorithms of accidents, the
nuances of nature, and the formulas of flukes the way a mason uses mortar to create interfaces for intimate
interaction with the laws of physics. By demystifying processes such as phyllotaxis (plant structures) and
triangulation (golden rectangles) he opens new doors for the creation of aleatoric art, and his concepts span an
even broader scope of applications. Finding the intrinsic beauty in.failure, Fung Kwok Pan epitomizes the Eastern
philosophy which equates disaster with opportunity. But his work is unique in.that his inventions make the creative
process available to all by way of the worlds first interactive aleatoric art generators.
nuances of nature, and the formulas of flukes the way a mason uses mortar to create interfaces for intimate
interaction with the laws of physics. By demystifying processes such as phyllotaxis (plant structures) and
triangulation (golden rectangles) he opens new doors for the creation of aleatoric art, and his concepts span an
even broader scope of applications. Finding the intrinsic beauty in.failure, Fung Kwok Pan epitomizes the Eastern
philosophy which equates disaster with opportunity. But his work is unique in.that his inventions make the creative
process available to all by way of the worlds first interactive aleatoric art generators.
Carrier of the Aleatoric Torch...
Finding anthropomorphic manifestations within the uninhabitable hell of a conflagration, seeing serendipity in
incendiary circumstances is Jeff DeRose's forte. But he’ll find figurative fertility in subzero frigidity with equal
dexterity. Within the polarity obtained through facility with extremes, DeRose finds a state of artistic equilibrium. His
sculptures are driven by a fascination with the essence of form, stripped of its trivial affectations. His work is deeply
rooted in philosophy, and through the processes of nature he sees the embodiment of what he believes. In a
sense, DeRose is an Aleatoric Prophet, Sooth Sayer, seeker of truth, and discoverer of evidence that in all stages of
existence: birth, life, destruction and death, there are elements essential to the beauty of the whole.
Finding anthropomorphic manifestations within the uninhabitable hell of a conflagration, seeing serendipity in
incendiary circumstances is Jeff DeRose's forte. But he’ll find figurative fertility in subzero frigidity with equal
dexterity. Within the polarity obtained through facility with extremes, DeRose finds a state of artistic equilibrium. His
sculptures are driven by a fascination with the essence of form, stripped of its trivial affectations. His work is deeply
rooted in philosophy, and through the processes of nature he sees the embodiment of what he believes. In a
sense, DeRose is an Aleatoric Prophet, Sooth Sayer, seeker of truth, and discoverer of evidence that in all stages of
existence: birth, life, destruction and death, there are elements essential to the beauty of the whole.
Around the center of the periodic table, JB Bond finds the elements that inspire his heavy metal urges- the hard
metallic substrates he uses extreme temperatures and immense force to manipulate in the creation of his stately
and graceful artwork, which appears both ancient yet timeless in form and finish. A contemporary fine art
blacksmith/metallurgist, Bond uses recycled.scraps of anything from bronze, copper, and aluminum to stainless,
carbon, and mild steels, heats them to white-hot and power-hammers them into submission before plunging them
into ice water to contrast hand-forged, organic-looking finishes.within the geometrically precise and elegantly
orthogonal designs of his wall hangings and floor sculptures. This earthy,.hand forged, almost medieval quality that
characterizes his work is more of what galvanizes his place in this gallery.
metallic substrates he uses extreme temperatures and immense force to manipulate in the creation of his stately
and graceful artwork, which appears both ancient yet timeless in form and finish. A contemporary fine art
blacksmith/metallurgist, Bond uses recycled.scraps of anything from bronze, copper, and aluminum to stainless,
carbon, and mild steels, heats them to white-hot and power-hammers them into submission before plunging them
into ice water to contrast hand-forged, organic-looking finishes.within the geometrically precise and elegantly
orthogonal designs of his wall hangings and floor sculptures. This earthy,.hand forged, almost medieval quality that
characterizes his work is more of what galvanizes his place in this gallery.
Nicola Parente - Journeys through Urban Aleatoria
Italian born painter/photographer, Nicola Parente, combines acrylics, ink, charcoal and pencil to infuse dense
shadows with hidden hues and moods that emerge through subtractive striations. Positive and negative space
are as interchangeable as joyful and foreboding imagery when his characteristic urban/industrial tones become
petrified forests of movement and depth seen through a tapestry of dappled light, or a teeming cityscape of bold
and severe contrasts suggesting we are looking through.the enhanced-sensory technology of some science fiction
alien. The movement of Parente's tools through his medium.somehow become the subject of his pieces giving a
new meaning to the term aleatoria as the byproducts of the creative process overshadow its conscious
mechanisms, as though the method were the means and the creating, the creation.
Italian born painter/photographer, Nicola Parente, combines acrylics, ink, charcoal and pencil to infuse dense
shadows with hidden hues and moods that emerge through subtractive striations. Positive and negative space
are as interchangeable as joyful and foreboding imagery when his characteristic urban/industrial tones become
petrified forests of movement and depth seen through a tapestry of dappled light, or a teeming cityscape of bold
and severe contrasts suggesting we are looking through.the enhanced-sensory technology of some science fiction
alien. The movement of Parente's tools through his medium.somehow become the subject of his pieces giving a
new meaning to the term aleatoria as the byproducts of the creative process overshadow its conscious
mechanisms, as though the method were the means and the creating, the creation.
Qubais Reed Ghazala — Old school photography in a whole new light
If you've ever said digital photography can do everything film can, Qubais Reed Ghazala invites you to a enjoy a
delicious dinner of your own words. Ghazala will literally manipulate an image between the lens and the subject or
the camera and the film to concoct otherworldly aleatoric images that occurred under conditions that could not be
repeated in a billion years. Besides time-exposure and pyrotechnic lighting, the artist will modify his lenses and
cameras, or employ camera-free techniques where, as seen in the image at left, dye migration materials are hand-
manipulated in the dark. These are just a few of the experimental methods Ghazala uses to change the way we
view photography and remind us that there is always more to know than we thought there was.
If you've ever said digital photography can do everything film can, Qubais Reed Ghazala invites you to a enjoy a
delicious dinner of your own words. Ghazala will literally manipulate an image between the lens and the subject or
the camera and the film to concoct otherworldly aleatoric images that occurred under conditions that could not be
repeated in a billion years. Besides time-exposure and pyrotechnic lighting, the artist will modify his lenses and
cameras, or employ camera-free techniques where, as seen in the image at left, dye migration materials are hand-
manipulated in the dark. These are just a few of the experimental methods Ghazala uses to change the way we
view photography and remind us that there is always more to know than we thought there was.
Impressions of our aleatoric universe
Whereas most aleatoric art is created by nature, Anne B. Schwartz derives her palette from nature and depicts
the earth's geological elements—raw minerals and uncut gems in their natural state—as well as the cosmic
elements that constitute our universe—the planets with their gaseous swirls and roiling atmospheric storms. Her
work also captures the colors and shapes of the distant nebulae which contain the stardust from which all life
originated. impressionistic aerials and densely featured metallic surfaces based on precious metals found in cave
walls. Schwartz’s paintings evolve over time and are always in flux, as she adds layer upon layer of texture and
color until the amassed material conveys the awesome power and scope of the heavenly bodies or the beauty
and richness of rare earth.
Whereas most aleatoric art is created by nature, Anne B. Schwartz derives her palette from nature and depicts
the earth's geological elements—raw minerals and uncut gems in their natural state—as well as the cosmic
elements that constitute our universe—the planets with their gaseous swirls and roiling atmospheric storms. Her
work also captures the colors and shapes of the distant nebulae which contain the stardust from which all life
originated. impressionistic aerials and densely featured metallic surfaces based on precious metals found in cave
walls. Schwartz’s paintings evolve over time and are always in flux, as she adds layer upon layer of texture and
color until the amassed material conveys the awesome power and scope of the heavenly bodies or the beauty
and richness of rare earth.
found realm aleatoric artists read art modern website nature images beauty one creative great natural using work fine first created metal eastern creates paintings uses materials steel featured page gallery available corporate houston studio works process venosa dali aleatoricart working variety urban chance physics unique ways beautiful processes techniques chaos sculptures traditional
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