2023

An artwork generated by a custom algorithm, Network Chatter is Ben's interpretation of the global internet culture in 2023. It is a further exploration of previous color studies, paired with new algorithms for constructing natural shapes and creating emergent compositions. It was chosen from a group of similar, algorithmically generated images to be released as a single edition artwork.

This artwork comprises of a physical (signed print by the arist) and digital (NFT) component. Please note that framing and shipping costs are not included in the sale price. Paper size : 101.6 x 152.4 cm

Shown at verse gallery London in February 2023

2022

Series of 100 shown at Bright Moments NYC in May 2022

For more https://bendotk.com/writing/100-print

2022

Series of 99

Learn about how this series was created: https://bendotk.com/writing/the-making-of-inertia

2021 | Digital

A generative human/computer collaboration with colors sourced from my acrylic paintings.

2021 | Digital

The Void is a series of 3 generative artworks. It is based off of the same algorithm as my previous works Good Night and Manufactured Turbulence, but focuses on filling in the space with vibrant colors, rather than tracing the lines.

There are a lot of nice outputs from this program and it was difficult to pick just three. I chose to showcase three that I felt told a cohesive story and had clear focal points, since those are the most evocative to me.

2021 | Digital | 2160x2880px

”Luminary” is a series of 4 generative artwork exploring color and the emergent effect of stacking simple shapes and filling their intersections.

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2020 | Digital (4200x4200px)

Series of 8.

2019 | Giclee on paper | 24 x 24” (61x61 cm)

The idea behind this piece is to produce something simple from far away, yet subtly complex from up close. If you look closely, each individual section of color is drawn in a crosshatching pattern. And not only that, neighboring sections crosshatch in a similar (but not identical) direction. They’re sized quite large in order to support a detailed view of the complexities of the prints.

Each piece in this series contains over 20 million tiny colored lines.

2019 | Giclee on paper | 24 x 24” (61x61 cm)

The Sorbet series depicts a smooth flow field of color. Each line is drawn as several thousand tiny vertical lines and colored in a smooth multicolor gradient. The distribution of these tiny lines builds a three-dimensional feeling to these pieces.

2019 | Giclee on paper | 24 x 18” (61x46 cm)

The algorithm for producing the lines in The River is remarkably similar to a much earlier work of mine (Discrete Flow). That work displays a set of flow lines through a smoothed vector field, produced by running a kernel smoothing algorithm over a randomly generated field. This piece works with an extended algorithm with the ability to perform fractional smoothing. It interpolates smoothly between adjacent derivatives of a vector field in order to produce a smooth gradient from completely random (the top and bottom of these images) and very smooth (the central “river” of these images). This technique is used to both produce lines and add color to these works.

2019 | Giclee on Paper | 20x25” (50x63 cm)

Series of 6

The Inaudible Paintings series is a follow-up from the work on The Spice Extractor that pulls from three separate paintings and explores a much wider selection of parameters. A randomized distance metric along with noise scaling leads to a huge amount of variety in these images.

2019 | Giclee on Paper | 20x25” (50x63 cm)

The Spice Extractor is one result from an ongoing exploration around the concept of repurposing old artwork into something entirely new. The Spice Extractor sources colors from Edvard Munch’s painting The Scream. However, the composition is completely reworked in order to build something entirely new out of it.

Earlier iterations of this work saw a more obvious translation of the source painting. I wanted to push it beyond recognition and build something that stands on its own.

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2019 | Giclee on Paper | 27x13” (68x33 cm)

We Will Think From Here On Out shows a crowd of initially diverse human figures slowly conforming over time (left to right). This piece was driven largely by a concept, which led me to experiment with using less abstract artistic components than I typically reach for. The detail image on the left is worth taking a look at to get a feel for how the larger image looks in person.

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2019 | Giclee on Paper | 17x11” (27x43 cm)

What does it look like when we change our minds? Maybe something like this. The Mass Synaptic Migration shows wispy objects flowing down a page. The bright pinks and dark blues help to build a dream-like atmosphere in this piece.

Year: 2019 | Giclee on Paper | 20x16” (50x40 cm)

When I set out to create this piece, I had an idea of several layers of smooth noise affecting similar pieces of the artwork in different ways. In I am the Ocean / You are the Tide, many randomly placed lines are modified smoothly across several dimensions (color, length, width, orientation, etc), where each dimension follows a unique noise curve. The result is an artwork that the viewer can move through gently no matter what element they are focused on — just like the ocean and its tides.

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2019 | Giclee on Paper | 16x20” (30x40 cm)

Six Ways to Nowhere expands on the idea of contour lines in The Wanderer (Series) by introducing more constraints and digging heavily into the details. The concept is largely the same: draw a bunch of contour lines. However, movement is limited to the 6 angles in a hexagon in this piece, and the lines are drawn in a more elaborate way. I think it looks kind of like paint from a distance, and like tufts of cotton when viewed up close.

2019 | Giclee on Paper | 28x28” (71x71 cm)

Series of 3

The Wanderer and its sibling pieces are composed of hundreds of stacked contour lines that each follow some unique structure. The goal of this project was to completely overload the viewer’s senses by allowing them to follow any path to its end, watching how it changes along the way. There is quite a bit of randomness involved in the programmed movement of each contour line; it’s fun to pick out the patterns lying within. These are nice to look at up close and from a distance, where the viewer may see the pieces in quite different ways (especially The Conclusionist).

2019 | Giclee on Paper

Memories of a Spoke Machine is built by spinning thousands of line segments around in a circular pattern, dropping a splat of color every time two of them intersect. This work was inspired by Jared Tarbell’s work Intersection Aggregate (2004), which tracks the aggregate intersections of many circles over time in a similar fashion.

2019 | Giclee on Paper | 16x16” (16x40 cm)

Series of 3

Polymeter is a visual representation of randomly generated polymetric musical phrases. Each “note” is represented by a particular series of dots, which are connected by a smooth curve. These notes are grafted together into two musical phrases with different meter. Those phrases are then overlaid on top of one another and drawn in a contour line.

2018 | Giclee on Paper | 16x20” (40x50 cm)
Series of 3

In Forgetting The Tide and its siblings, each square has its own color and gravity associated with it. A ball is bounced around in each square using these parameters, tracing its path as it goes. The color generation is based on a random gradient generator I developed, and each parameter mentioned is pulled from a shared vector field to create a smooth flow throughout the pieces.

2 of 3 Sold

2018 | Giclee on Paper | 16x20” (30x40 cm)

With 198x, I explore the idea of using a stenciled mask to overlay a pattern on. This one is composed of several triangles repeating downwards. This artwork looks like it belongs on a record cover from the 80s to me with the muted colors next to a very dark gray, which is where the name comes from.

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2018 | Giclee on Paper | 16x20” (30x40 cm)

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2018 | Giclee on Paper | 16x20” (30x40 cm)

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2018 | Giclee on Paper | 20x16” (40x30 cm)

Series of 2

2018 | Giclee on Paper | 16x20” (30x40 cm)
Series of 2

Buy This Artwork

2018 | Giclee on Paper | 16x20” (30x40 cm)

Series of 2

Buy This Artwork

2019 | Giclee on Paper | 16x20” (40x50 cm)

Buy This Artwork

2018 | Giclee on Paper | 11x14” (28x35 cm)

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2018 | Giclee on Paper | 11x14” (28x35 cm)

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2018 | Giclee on Paper | 16x20” (30x40 cm)

Series of 2

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2018 | Giclee on Paper | 16x20” (30x40 cm)

Series of 2

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2018 | Giclee on Paper | 16x20” (30x40 cm)

Series of 2

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2018 | Giclee on Paper | 18x22” (46x56 cm)

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2018 | Giclee on Paper | 11x14” (28x36 cm)

Series of 2

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2018 | Giclee on Paper | 11x14” (28x36 cm)

Not For Sale

2018 | Giclee on Paper | 24x30” (61x76 cm)

Not For Sale

2018 | Giclee on Paper | 20x20” (51x51 cm)

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2018 | Giclee on Paper | 16x20” (40x50 cm)

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2018 | Giclee on Paper | 12x12” (30x30 cm)

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2018 | Giclee on Paper | 16x16” (40x40 cm)

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