Spectrum
Andreessen Horowitz
San Francisco, CA
Aaron Taylor Kuffner | John Edmark | Chelley Sherman | Can Büyükberber
John Parts Taylor | Yulia Pinkusevich
Seed Gallery’s second installment, Spectrum, takes place in the newly built San Francisco headquarters of Andreessen Horowitz. The exhibition features six multidisciplinary artists, showcasing a range of analog to digital artwork informed by technology, software, and data collection with inspiration from the natural world.
On View: March 21 - August 16, 2024
Private Viewings by Appointment Only
Location: Andreessen Horowitz, 180 Townsend St, San Francisco, CA
schedule an appointment
-
"We invite you to embark on a journey through the interplay of technology and tradition, where the boundaries between the analog and the digital blur, and where the natural world serves as both muse and medium. Our multidisciplinary exhibition showcases a diverse array of artworks, each a testament to the symbiotic relationship between human creativity and the ever-evolving landscape of technology.
Drawing inspiration from the rich tapestry of the natural world, our artists explore themes of connectivity, transformation, and the intricate complexities of the human experience. From immersive digital installations to intricately crafted analog creations, each piece invites contemplation and reflection, inviting viewers to reconnect with the world around them in new and unexpected ways.
As we navigate the intersection of art and technology, we celebrate the ingenuity of human expression and the boundless possibilities that arise when we embrace both the past and the future. Join us as we delve into the depths of imagination, where innovation and tradition converge to create something truly extraordinary."
AARON TAYLOR KUFFNER
-
Aaron Taylor Kuffner is an American born conceptual artist, based in New York. Kuffner’s dynamic work reaches far outside conventional forms of representation: it actively engages its audience and pushes art to serve society. His pieces often take the form of multi-year projects that require in depth research, collaboration with field experts and the development of new specialized skill sets. Each project provides unique conceptual tools that further the evolution of consciousness through the experience of beauty and the sublime.
GamelatronA Gamelatron is a sound producing kinetic sculpture presented as site-specific installations, and stand alone art works by Aaron Taylor Kuffner. Gamelatrons are made from bronze and iron instruments derivative of Indonesia’s thousand-year-old sonic tradition Gamelan, retrofitted with mechanical mallets on sculptural mounts. The pieces are connected to a physical computing system that transcribes digital compositions into an array of electrical pulsations that results in a ghostly musical automaton.
website
youtube
soundcloud
Aaron Taylor Kuffner
Gamelatron Bidadari
Sonic Kinetic Sculpture - bronze, aluminum, teak, powder coated steel, physical computing system
70 x 60 x 16 in. / each
2018
$135,000.
-
A Gamelatron is a sound producing kinetic sculpture presented as site-specific installations, and stand alone art works by Aaron Taylor Kuffner. Gamelatrons are made from bronze and iron instruments derivative of Indonesia’s thousand-year-old sonic tradition Gamelan, retrofitted with mechanical mallets on sculptural mounts. The pieces are connected to a physical computing system that transcribes digital compositions into an array of electrical pulsations that results in a ghostly musical automaton.
JOHN EDMARK
-
John Edmark is an artist, inventor and designer. His diverse body of work explores and celebrates patterns arising from space, growth, movement, and light. He is the creator of the Helicone, an interactive kinetic desk toy, and Blooms, a new type of sculpture that animates when spun under a strobe light. Online videos of his artwork have been viewed over 60 million times. His work has been featured in the New York Times, Core77, and Colossal, and on NPR’s Science Friday. He has designed interactive artwork for museums including the Exploratorium, the San Jose Museum of Art, the Phaeno Science Center, and the Swiss Science Center Technorama. He has been an Artist-in-Residence at The Exploratorium and AutoDesk. Prior to focusing on art and design, he spent several years researching virtual environments at Bell Laboratories. He teaches in the Design Program at Stanford University.
-
A focus of my work for the past several years has been spiral geometries, particularly those that nature produces in a wide variety of plants such as sunflowers, pineapples, artichokes, and many succulents. Despite their different appearances, these plant forms all use the same basic method for creating their spiral forms, specifically, each new element is positioned 137.5º around the center from the previous element. Although 137.5º sounds rather arbitrary, it is actually the angular equivalent of the golden ratio, and thus is called the golden angle.
One day I was playing around with one of my spiral tiling designs when I suddenly noticed that if I added the next larger piece and then rotated the entire tiling by the golden angle (137.5º), the tiling looked exactly the same except for being slightly larger than before. I decided to make a stop motion animation of this process, repeatedly adding a piece and rotating by the golden angle. In the resulting animation the puzzle appears to be growing, like a living plant.
I was thrilled by this discovery, and subsequently pursued several ideas based on it. However, it took me five years to appreciate the full potential of this finding as the basis for creating strobe animated sculptures. It turns out that any form created using the golden angle method described above has an intrinsic animate-ability; by spinning such a form at very high speeds and flashing it with a strobe light every time it rotates by the golden angle, a very convincing illusion of movement and growth is produced. I call these animating sculpture Blooms, in reference to their ever-blooming appearance. They are modeled in CAD and then 3D printed in nylon.
John Edmark
Aspire
3D printed nylon
6 x 9 in. (diameter)
2018
Open edition
$6,500
John Edmark
Crosscurrent
3D printed nylon
6 x 9 in. (diameter)
2018
Open edition
$6,500
John Edmark
Abundance
3D printed nylon
6 x 9 in. (diameter)
2018
Open edition
$6,500
John Edmark
Eruption
3D printed nylon
6 x 9 in. (diameter)
2018
Open edition
$6,500
John Edmark
Traversal
3D printed nylon
6 x 9 in. (diameter)
2018
Open edition
$6,500
John Edmark
ShadowPlay
RGBY LEDs, prisms, Arduino microprocessor
Variable dimensions
2024
-
ShadowPlay is a light installation that invites the user to collaborate in the creation of animated multi-colored shadows. Initially, the projection surface appears white, but when the user steps into the light beam, the shadows they cast reveal a panoply of ever-changing colors.
By combining colored lights in precisely related hues and intensities, it is possible to have the cumulative effect always be white, even while the constituent colors are changing. While Red, green, and blue are optimal primaries for creating white light, they are not the only options; white light can be created from an infinite variety of colored light sources. (For example, any two complementary hues can be made to produce white light.) There is no limit to the number of hues that can be combined to create white light, as long as they are properly proportioned.
CHELLEY SHERMAN
-
Chelley Sherman is a pioneering digital media artist whose work explores the intersection of art, technology, and consciousness. Through immersive installations and virtual reality experiences, Chelley delves into non-ordinary states of consciousness, perceptual illusions, and embodied cognition. By integrating various sensorial inputs—audiovisual, tactile, and movement—Chelley crafts works that push the boundaries of perception and understanding. Central to Chelley's artistic practice is the creation of data-driven biosimulations and digital recreations of complex dynamical systems and self organizing systems. These computational models give rise to emergent, lifelike patterns and behaviors that form the foundation of their immersive works, which become, in essence, a form of psychocosmogram. These works draw the viewer through noetic perception and symbolic representation to connect to a higher dimensional order of understanding, inviting them to explore the profound depths of consciousness and the fundamental nature of reality. Through the expressive medium of computation, Chelley leverages concepts like annealing, optics, fluid dynamics, and agent-driven behaviors to evoke the ineffable essence of consciousness and its multifaceted expressions in the physical and metaphysical realms. These practices inspire patterns of creation and expressive cosmologies that connect to a broader sense of vastness and the fluid, ever-changing nature of perception. Over the years, Chelley's portfolio has expanded to include acclaimed VR installations that have garnered recognition such as the United Nations Women's Art Award. Their work has been featured in renowned multimedia festivals like SXSW and Mutek. Notably, Chelley's contributions to the development of real-time systems at Sphere Las Vegas and for Emmy Award-winning immersive films have been highlighted in Time Magazine as pioneering advancements in technology and along with collaborations with NASA’s Jet Propulsion Laboratory.
website
instagram
Chelley Sherman
Luminoesis
Lenticular print
36 x 36 in.
2024
$15,000
-
Luminoesis explores the interstitial spaces between matter and spirit, light and shadow, form and void. This piece, while anchored in the physical realm on a bridge, acts as a portal to a realm where thefundamental principles of existence and enlightenment converge in a visual symphony.
As one meditates on the span of this bridge, they encounter an evolving tableau that seems to harness the very essence of light—transforming it into a medium that communicates the ineffable. The central figure, a crystalline entity, stands as a guardian of wisdom, its form shifting with the viewer's perspective, hinting at the transient nature of perception and the underlying unity of all things.
Surrounding this figure, flows of water and light intermingle, creating a prismatic spectacle that defies simple categorization. This fluid interplay represents the dynamic state of existence—constantly moving, yet rooted in the eternal. It's as if the artwork captures the moment of creation itself, where from the void emerges the vibrant tapestry of life, illuminated by the inner light of consciousness.
This bridge, then, is not merely a structure but a liminal space where the observer is invited to reflect upon the cycles of birth, death, and rebirth. The flowing water, embodying both purity and transformation, while prismatic spectrum symbolizes the multifaceted nature of transcendent illumination.
In moving around the piece, one is struck by the oscillation between radiance and darkness, a reminderof the inseparable relationship between intrinsic nature and emptiness in carving the contours of reality. This dichotomy serves as a visual metaphor for the duality and nonduality that define our existence.
The artwork, thus, becomes a visual meditation on the nature of being, a psychocosmogram as a visual ode to a vast, interconnected lattice of energy and light and to embrace the endless cyclic cosmology that defines the dance of the cosmos.
Chelley Sherman
Cartographies of Light (1 - 9)
3D animation
2024
-
Cartographies of Light unfolds as an exploration of ethereal landscapes, where the digital canvas becomes a realm of inquiry with light as its primary subject. In this work, light transcends its traditional role, becoming the vibrant core of a visual symphony that diffracts and diffuses through a prismatic lens. This creates a spectacle of chromatic complexity and depth, continually evolving and captivating the viewer.
This process, a form of digital alchemy, transforms the scene into a dynamic mosaic of colors, resonating with the emergent properties of natural systems. The piece leverages a bespoke dispersion simulation shader, employing Laplacian curl growth patterns to intricately manipulate and abberate light, enriching the artwork with a nuanced spectrum of hues and motions.
Every moment within Cartographies of Light offers a unique configuration, a singular point in a boundless journey through the prismatic landscapes of the mind. This piece is a reflection on the fluid interplay between light, color, and perception, inviting viewers to engage in a deeply personal exploration of the visual and mental spaces it illuminates.
Chelley Sherman
Glaucous Mirror
3D animation
2024
-
Glaucous Mirror is a haunting and mesmerizing video artwork that plunges the viewer into a metallic, mercurial cavern—a space that seems to exist outside the bounds of time and reality. As one gazes into this shimmering, ethereal realm, they are confronted with a world in constant flux, where the very fabric of the space seems to breathe and mutate before their eyes. Patterns and textures shift and flow across the contours of the space,creating an almost hypnotic effect that draws the viewer deeper into the heart of the installation. Within thisshifting, mutable space, ghostly apparitions begin to take form, flickering in and out of existence like fragments of a half-remembered dream. These spectral figures are suggestions of presence, hints of some unseen reality that lies just beyond the veil of perception. They move through the cavern with a fluid grace, their forms merging and dissolving into the mercurial walls, leaving behind only fleeting impressions of their passage. As the viewerbecomes more attuned to the rhythms and pulsations of this strange, atemporal realm, they may begin to sense a deeper truth lurking beneath the surface of the artwork. "Glaucous Mirror" is not simply a visual and auditoryexperience, but rather a portal into a state of consciousness that exists outside the bounds of linear time and space. By immersing ourselves in this mercurial, mutable space, we are forced to confront the fleeting and illusory nature of our own sense of self, and to glimpse the vast, unknowable expanse that lies beyond the boundaries of our limited understanding.
Chelley Sherman
Quowra
3D animation
2024
-
With Quorwa viewers are invited to witness an ever-evolving tableau that blurs the boundaries between the organic and the digital, the tangible and the ethereal. This piece captures the mesmerizing dance of a metallic fluid that grows, morphs, and undulates in a perpetual state of transformation, echoing the principles of reaction-diffusion patterns found in nature.
At the heart of this creation is an intricate audio-reactive system, where the silent symphony of growth and change is driven by an unseen auditory force. This element of the piece plays a crucial role in dictating the rhythm and flow of the visual spectacle, imbuing it with a life-like quality.
The visual narrative unfolds in a chromatic play of colors, where prismatic hues shift and blend with the fluid's metallic sheen, creating a mesmerizing display that captivates. This chromatic interplay is a nod to the concept of fluid annealing, where elements seamlessly merge and coalesce into new forms, mirroring the fluid, ever-changing nature of consciousness.
It invites viewers to lose themselves in the hypnotic patterns and fluid movements, fostering a state of contemplation and introspection. This work is a reflection on the beauty of emergent systems, the boundary between the viewer and the viewed dissolves, offering a space for reflection on the interconnectedness of all things and the subtle, beautiful complexities that underpin our reality.
CAN BÜYÜKBERBER
-
Visual artist and director Can Büyükberber creates immersive audiovisual experiences that bridge both physical and digital spaces. His practice encompasses experiments with various media, including virtual/augmented reality, projection mapping, geodesic domes, large-scale displays, and digital fabrication. Fueled by interdisciplinary thinking and curiosity that extends to art, design, and science, Buyukberber's work frequently delves into human perception. He explores innovative methods for non-linear narratives, geometrical order, synergetics, and emergent forms. Aiming to craft captivating and abstract realms, he employs increasingly intricate structures that resonate as multi-sensorial experiences, transforming the conceptual into the experiential and blurring the sense of scale and presence across physical and digital environments.
With a background in Physics and Design, has received his Master's Degree in Art & Technology from San Francisco Art Institute as a Fulbright Scholar, has been selected to Autodesk Pier 9 and Adobe AR Artist Residencies. His audiovisual works have been exhibited in museums, galleries and media art festivals around the world, including ZKM, Karlsruhe; Ars Electronica, Linz; SAT, Montreal; Sonar D+, Barcelona; California Academy of Sciences, Exploratorium and Dolby Gallery in San Francisco; Akbank Sanat, Istanbul; Art Futura, Rome; MUTEK.JP, Tokyo; BFI Film Festival, London; Cité des Sciences, Paris; Art Basel, Miami; ZeroSpace, New York City; collaborations with musical artists such as Grammy-Award winning rock band Tool, Shigeto and Czech Philharmonic Orchestra.
website
instagram
Can Buyukberber
Cosmic Weave
3D Animation
2024
-
Cosmic Weave uses light, form, color, and space to present a rhythmic interplay that mirrors the complex tapestry of the cosmos itself. The sculptures resonate with spaces that stretch beyond our coventional three-dimensional understanding, hinting at the multi-faceted realms of higher mathematics. They echo the foundational principles of physics, like the wave-particle duality and the intricate dance of light and matter. Drawing inspiration from nature's recurring patterns, such as the helical structure of DNA and the vast neural networks, the pieces showcase the intrinsic symmetry and rhythm that underline the living world.
The essence of futurism is seamlessly integrated into Büyükberber's art, capturing a vision of a world shaped by the confluence of advanced technological and scientific strides. The digital realm crafted by Büyükberber acts as an atmospheric catalyst, elevating the viewer's mood. The intricate patterns and evolving geometries have a hypnotic quality, working in tandem with the curated ambient soundscape, to induce a state of serene contemplation. This environment encourages the release of stress, offering a mental respite and subtly shifting one's cognitive focus toward a broader, cosmic perspective. The shifting forms and luminous patterns challenge and expand one's spatial awareness, prompting theaudience to experience a shift in their understanding of scale and dimensionality.
JOHN PARTS TAYLOR
-
John Parts Taylor is a multidisciplinary artist and technologist whose digital works aim to elicit a parasympathetic response via patterns and cadences found in nature.
John Parts Taylor was inspired by the huge technology stack used by analog VJ’s in the 1990’s and the transition to digital in the early 2000’s. Watching a friend’s technical rehearsal as a VJ for Radiohead at Coachella in 2004 brought a moment of epiphany as he felt the impact of subtle and restrained art that was also high tech.John has recently produced Resonance In Light 3 at Heron Arts in San Francisco and has engaged in “digital art forensics” to rescue multiple artworks by the likes of James Turrell and Piere Huyghe.
In the late 2000s, John eventually brought his VJ and creative-tech skill set to international brands such as Red Bull and Heineken. He has a deep love of collaboration with fellow artists and the preservation of technical art.
John grew up in Silicon Valley as the son of native San Franciscans. His father was the son of a wartime Pier 70 shipfitter and his mother was the daughter of a North Beach artichoke farmer that grew with an Italian collective in Colma.
John is currently bicoastal with deep roots in San Francisco and New York with a smattering of international adventure.
website
-
In an era where algorithms are demonized, the artist seeks solace in the elegance of classical computation. Fractally generated colors create a cosmic background, a swirling nebula of code-born hues, observed by the silent sentinels of our silicon dreams.
Negative space and a restrained palette weave a tapestry of pixels, each a fleeting glimpse of a never-ending dance. Here, at the tranquil edge of the cosmos, we witness a choreography of mathematics set to the rhythm of valence band emissions.
Deepest gratitude to Shuji Nakamura, whose 1993 discovery of the blue LED forever altered the landscape of light-based art, its full potential still waiting to be unveiled.
John Parts Taylor
Cube Study (triple)
LEDs, physical computing, 3D printing, aluminum plates
2022
Open edition
$19,000.
John Parts Taylor
Cube Study (double)
LEDs, physical computing, 3D printing, aluminum plates
2022
Open edition
$12,000.
Looking West
120 x 5 in.
LEDs, physical computing, 3D printing, aluminum plates
2022
Open edition
$23,000.
Looking North
90 x 5 in.
LEDs, physical computing, 3D printing, aluminum plates
2022
Open edition
$19,000.
YULIA PINKUSEVICH
-
BIO
Yulia Pinkusevich is an artist and educator born in Kharkiv, Ukraine (USSR). Upon the collapse of the Soviet Union, her family fled the eastern block as refugees, immigrating to New York City. She holds a Masters of Fine Arts from Stanford University and Bachelors of Fine Arts from Rutgers University, Mason Gross School of the Arts. Yulia has exhibited nationally and internationally including site-specific projects executed in Paris, France and Buenos Aires, Argentina and London, UK.Yulia’s art is in the public collection of the deYoung Museum, Stanford University, Facebook HQ, Google HQ and the City of Albuquerque amongst others. She has been awarded residency grants from Gray Area Arts Foundation, Wildlands, Lucid Arts Foundation, Autodesk Pier 9, Recology (San Francisco Dump), Cite des Arts International (Paris), Headlands Center for the Arts Vashon AIR amongst others. Yulia has lectured at Stanford University and is currently an Associate Professor of Studio Art at the College of Art Media and Design and Mills College of Northeastern University in Oakland California, she lives and creates works on unceeded Ohlone territory. Yulia’s work is represented by Marlborough Gallery in New York, London, Madrid, Barcelona.
STATEMENT
Yulia Pinkusevich is a visual artist working primarily in drawing, painting and installation. She creates projects and large-scale environments that consider our ecological and social systems. Her work observes land and environment critically, focusing on the psychology of architecture while exploring both the physical and psychological environments sentient beings inhabit. Using art as a vehicle to merge the physical and psychological parallels, she believes the structures that surround us can define and influence our actions, paths and thoughts. The work is a search for innate inner truth.Her background itself is rooted in change. Born and raised in the USSR at a time of great political upheaval and uncertainty. Upon the collapse of the Soviet Union, her family fled the eastern bloc as refugees, immigrating to New York City. She later relocated to California first to attend college and later graduate school, continuing to reside in the Bay Area. Her work stems from her identity as an immigrant of Siberian & Ukrainian roots. Her art explores dualities and the complex relationships between her blended identity and home countries. Formally, the work is engaged with the direct experience of the viewer through perspectival illusion and spatial perception that play with the subconscious and cognitive understanding of space. By breaking logical perspectives she creates illusions of impossible spaces, non-places or utopias that shift the viewpoint to the panoptic.
website
instagram
-
Q-Series began while the artist was in quarantine during the COVID-19 pandemic. The small, amoebic works are made using a slow meditative process in which the artist places a single ink mark on the paper for every breath she takes. Pinkusevich then connects these marks with fine red pencil lines as a meditation on form, social connection and biological networks. The intimate works follow an internal logic and poses a scientific visual language. Just like a physical body, they have the ability to heal, grow and regenerate a sense of being.
Yulia Pinkusevich
Q-13
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-40
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-24
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-28
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-36
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-25
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-37
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.
Yulia Pinkusevich
Q-27
Alcohol ink, pencil and beeswax on paper
9 x 12 in.
2020
$2,500.