This project originated from the researches I did on transposing into visual spaces the results of equations and mathematical researches using my photographs as basic source of elements. I use pixels, and sensor's values before interpolation, as input values into mathematical models designed for scientific analysis. The results are then expressed within the colors from the original document used as 'seed'. Such process allows me to create very intense and complex visual spaces that goes beyond simple graphic art. Most of all my works there is an underlying reality that originates from the photo I have used for the process. Most of the equations I use are describing atomic particles dynamic, energy states, or bio and bio-chemical structures. I also use statistical models for populations analysis applying them to the sets of digital photographs.

The transposition of the results into visual structures results in very powerful visions of dimensions and locations that cannot be 'seen' otherwise.

I hope that these artworks pleases you and provides you with visual and emotional comfort.

The images contained on this site are downsized from the originals. Their size allows for viewing on a monitor and downloading with a modem but the printing will not be of good quality given that the downsizing did discard some of the key details contained in the originals.

Each collection can be accessed by clicking one of the buttons on the navigation bare on the left.
From pixel[i] entity to population of them.

Pixels are today our common descriptor for visual communication.  On the television screen, in the printed news and magazines, on computer screens, pixels constitute our interface to perceive and communicate with our surrounding spaces.

From dynamic to variability:

Pixels are data that describe a single location and its values in colors and brightness. It is a leverage on reality in that if manipulated it will transform the representation of our universe.

From time line to resulting states:

Our brain interpret our sensorial inputs, vision, hearing, tasting, sensing. Pixels can influence our visual perception of life in dramatic ways that can lead our emotions into intense pleasure and/or lasting deep deception.

Mathematics and statistics used to reveal characteristics from individuals or group in society have been our main analytical tools for as long as theorems, rules and methods. 

By using statistics and mathematics and applying to the results visual interpretations,  that are purely conventional transformations, one can create dramatic new visual spaces. 

I chose to work in a photographic style where every pixel has a value and a justification within the whole image / space in opposition to hand painting or drawing where pixels are in many cases 'filling' a space.

My path is quite simple; I take a photo from a landscape, a flower, a rock or a portrait as a starting point that I call ‘seed’.

My framework is first to evaluate the potential for transformation that would generate a final document with artistic values.  I first determine what type of 'treatments' I will apply, in which order and to what extent so that the final image will still make sense in a visual and artistic perspective.

I do not want to lose the initial structural values from the original photo so I will work in a way that displace parameters such as light, perspective, relative dimensions, mirroring or inversion.  Wavelength[ii] frequencies are one of my most common denominators between each work.  The reason is that as a pixel is an arithmetical representation of an information about a location, and is composed of 4 values that are Red, Green, Blue and brightness, applying modifications on one of more of these values across a series of pixels can dramatically modify the visual space where they are located.  I may arbitrarily consider that what is dark is deep and what is white is elevated, so with such a transformation one can generate a topography[iii] surface that now is representing a 3D space.

Once we have elevations and depressions relative to a zero surface, we can modify the R,G and B from a series of pixels, shedding a new light of different wavelength over an area.  The new properties of the light used can simulate heavy particles beams, instead of photons, that will interact with the ‘3D surface’ created.  The frequency of the wavelength and the type of particles used to beam on the surface will determine the way the interaction occurs.  In my case I replace white light with shifted frequencies that modify completely the appearance of a specific surface when bouncing off.  I can also determine the factor of absorption of a wavelength by each pixel, or a group of pixels.  In that case it can be from total absorption, nothing bounce back, to total refraction, mirror type surface.  But by simulating the usage of particles instead of photos, I obtain much more characteristic effects.

In the case of particles simulation, I use real life values and mathematical models that are used in particles analysis by scientific in physics and atomic research.  Such tool allows me to simulate surfaces and spaces that are very characteristic to a particle model used.

Transformation from original photographs to new image that are visually very different but still allows for retrieving the original visual elements such as shape or forms is a complex process.  The architecture of a photo is something very rigorous; very little can be displaced without losing the whole construct or the visual value of the document.

The eye travels over the space but cannot take over the composition:

Why to transform? 

It is a long practice originating since humanity has started to evolve and needed to communicate over time.  Our ancestors did first draw on the ceiling and walls of caves, representing animal that we were hunting, or events they were part of.  Then drawing became more complex with the addition of perspective, placing many objects in relation to each others in different planes, then we did start to fill the spaces of the objects we were drawing with colors so as to identify them more effectively.  In other places, we used medium such as clay tablets, or fabrics, or even dried leaves on which we used the juice from fruits or some plants to do the drawing.  Through the centuries we have perfected both techniques: drawing and painting, but also the way we construct scenery from a 2 dimensional space to 3 dimensions where perspective allowed to reproduce both the space and time of the event.

Transformation is not new, but what is new is the fact that we can do such a complex process by using computer to apply processes driven by mathematical functions on our imagery.  As transformation is mostly a mathematical exercise, computers are very well suited for that task.  With the emergence of digital photography and the continuous increase in resolution provided by sensors, we are able today to produce very high resolution imagery that are very well suited for transformation.

Digital photo is a perfect material for mathematical exercises.   However the power provided by computers makes that digital information could be manipulated in so many ways that the potential for “enhancement” of the information is nearly unlimited.  We have already experienced that manipulation from original digital imagery had led to produce alternate visual documents that are creating false representation from reality.

This is not my intent.  The mathematical tools that I have programmed and am continuing to develop are powerful in manipulating pixel/data.  As I have expressed in my artist statement, I simply use computers and mathematic to explore different ways to ‘see’ or ‘look’ at my surroundings.  So when I take a photo, it is with the expectation of a final result that will be ‘an artistic vision expressing likeness of a familiar space, and the idea for creating uncommon beauty.  One peculiar aspect of using computer is to speed up through fields of data and reach a state of synthesis that finally makes apparent intricate patterns juxtaposed with simplicity.

Mathematical models open infinity of dimensions and spaces that can be applied to a single photo creating the potential to discover unlimited new ‘visual experiences’.

This is what this site is about and the collections presented here are to provide you, the visitor with an idea of what is possible today and how this path can lead to an infinity of ‘new visual spaces’.