People, pixels & printed matter was a project that occured as a result of a broader intention of expanding my language in digital composition, of further exploring the notion of destortion in a metaphorical as well as in a technical manner and finally, what occured, occured as a result of play. Generally speaking, the idea of a “game”, of playing and of playing with media, materials and visual identities intrigues me greatly since it triggers a process of a game while creating, it gives a freedom of flexibility as to what result to expect and of what the outcome will end to be. Beginning a project with the moral that the project itself is a gaming process makes the project a potentially infinite chess board    of in- finite possibilites and directions. Each time a step of process is made, the next one is almost randomly decided- designated by the previous one. For instance, at first
People, pixels & printed matter began as a psedo melacholic reflection about a quite stereotypical yet very much existing matter that troubles us all; human relationships. The “humanoids” where the first composition of the wider composition that it was yet to become. They flow and fly into and onto nowhere, they are close but they do not coincide in space or elsewhere. They travel and they may get to momentarily merge or seclude.
Movement and flow. Flow, distance and collision. Collision and no connection.
The aesthetic code of “dressing” the figures in a mesh, leaving them in a grid, undressed, exposed, again enhances the allegory of a faceless, distant, potentially incomplete unsatisfied manner of psychism.
No particular facial characteristics or features are emphasised in order to leave a neutral feel about the individual “case” of personality or persona, allowing space for realisations and observations about the greater sum of them “people” all. Figures under formation, somewhat of config- uration. It is a project about interaction apart from destortion. Interaction between bodily creatures, interaction amongs individuals. Artworks that in right accordance become a new entity, a new “one”, a “complete whole”. In an indirect way, sexaulity, vanity and some sort of internal confinement are implied. Before the final outcomes, I had been experimenting with
individual figures and footprinting an expression without illustrating one. Experiments were digital but as a bi product that added extra dynamic and visual abundance, prints and transparencies were used.
The visual ingredients that were not descriptive like the abstract pieces of the installation, added a “vibe”, stated an intention and enhanced a certain atmosphere, a bit more dark and immersive I believe.