#worksonpaper — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #worksonpaper, aggregated by home.social.
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"...It is not clear why LLMs are so fond of negative parallelism. It might just be because such constructions are frequent in training data. Another possible explanation is that during reinforcement learning, a phase in LLM training, human reviewers might grade negative parallelism higher because it conveys ‘the impression of nuance and insight.’”
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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From Wikipedia: “Negative parallelism is a stylistic device that defines a subject by describing what it is not as well as what it is: ‘it's not X, it's Y.’ […] It gained attention only in the 2020s when it became apparent that large language models (LLMs) such as ChatGPT use negative parallelism inordinately often..."
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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𝙉𝙚𝙜𝙖𝙩𝙞𝙫𝙚 𝙋𝙖𝙧𝙖𝙡𝙡𝙚𝙡𝙞𝙨𝙢
Acrylic on Arches paper, 14 x 22”
2026Series of ten.
A stacked column of 324 triangles expand and rotate to produce an illusory object of indeterminate shape and mass.
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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Cheesy moments in Andalusia, Spain.
Oil on paper
21x29,7 cm -
Drawing of the day.
Look what I found in the drawer. One of my writing drawings. Loud and continuous. #drawing #asemicwriting #smallworks #worksonpaper -
The "Adam and Eve", Old Chelsea., 1879, United Kingdom, by James Whistler. Gift of Sir John Ilott, 1962. Te Papa (1962-0001-27)
One of art’s most inventive and influential printmakers, James Abbott McNeill Whistler (1834-1903) made nearly 500 etchings over five decades, as well as some 180 lithographs. As a gifted young draftsman, he recognised the medium’s ability to record and reproduce sketches scratched quickly into the wax coating of copper plates; as a mature artist, he immersed himself in the complexities of etching, drypoint and controlled inking to produce striking works of astounding subtlety.
He spent some of his teenage years in London, living with his half-sister and her husband Francis Seymour Haden, a surgeon, avid etcher and Rembrandt collector. After his father’s death, Whistler returned to his native US and entered West Point Military Academy in 1851, studying art but failing elsewhere. A brief stint followed at the US Coast and Geodetic Survey, where he felt confined drawing maps but learned to etch and doodled figures reminiscent of the French caricaturist Paul Gavarni across the top of a topographic view.
Funds advanced by a family friend enabled the crucial move to Paris in 1855. Whistler took drawing classes, entered the studio of Charles Gleyre and, encouraged by Haden, began etching by 1857. Reproductive prints were still the norm for etching, so Whistler broke new ground as he toured Alsace-Lorraine and the Rhineland in 1858 to develop a series titled Douze eaux-forts d’après nature ( Twelve Etchings from Nature , or the "French Set"). Working out-of-doors, he drew onto copper plates, then bathed the exposed metal in acid in his room to etch printable lines. A forerunner of the etching revival, this first published set includes works from the tour, others created in Paris and portraits of Haden’s children. Ancient buildings and ordinary workers demonstrate sympathy for French Realism as espoused by Gustave Courbet. Auguste Delâtre, a master of "artistic printing," was enlisted to create the first twenty sets. Whistler and Delâtre then took the plates to London and worked with Haden to print fifty more, sending examples to the Paris Salon and Royal Academy in 1859.
Seeking new inspiration and broader support, Whistler moved to London in 1859 and lived in a wharf district below Tower Bridge. Commercial activity along the Thames, whose banks were densely lined with warehouses and wharves, inspired many etchings in the early 1860s, a selection published in 1871 as A Series of Sixteen Etchings of Scenes on the Thames (the "Thames Set"). These focus on the Pool of London—the furthest point upstream that large ships could navigate—combined with lyrical views of a quiet stretch of river near Chelsea, the artist’s home from 1863.
Whistler experimented with formal arrangements inspired by Japanese woodblock prints; imitating Hokusai and Hiroshige, he established distinct vertical and horizontal formats, defined space in startling new ways, and cropped forms with margins. He also began to wipe his inks expressively and to work in drypoint, preferring softer lines scratched directly into the copper for figures and portraits. Charles Baudelaire praised Whistler’s prints of this decade, but most English critics failed to appreciate his progressive vision and gave precedence to Haden.
The "First and Second Venice Sets", published in the 1880s, mark a highpoint of Whistler’s creative genius, the plates etched during a fourteen-month stay in Italy, beginning in September 1879. Evocative responses to the Venetian Lagoon, shadowy palaces on small canals, misty twilight and reflections that dance off water into dark passageways balance plane and recession, decorative line and evanescent tone. These works move beyond obvious japonisme and place Whistler at the forefront of the Aesthetic movement, with its celebration of visual beauty and comparisons between art and music.
London’s Fine Art Society had sponsored the Venetian trip, expecting the artist to return in three months with twelve plates ready to publish. But the journey came on the heels of a sensational and financially disastrous court case that Whistler brought against John Ruskin in 1877, reacting to his critical savaging of the painting Nocturne in Black and Gold: The Falling Rocket . Whistler won, but received only a farthing in damages, and was forced to declare bankruptcy in 1879. Venice offered a welcome respite and, as the artist lingered abroad, he made 50 etchings and 100 pastels.
Late in 1880, the Fine Art Society published Venice, a Series of Twelve Etchings , with the ink expertly manipulated in a manner that approaches monotype. Whistler also devised a distinct new presentation, trimming the paper close to the plate line with a small tab left below to contain his emblematic butterfly signature. When the gallery exhibited all the Venetian etchings in 188... -
𝙀𝙣𝙩𝙖𝙣𝙜𝙡𝙚𝙢𝙚𝙣𝙩 𝙃𝙖𝙧𝙫𝙚𝙨𝙩𝙞𝙣𝙜
Acrylic on Arches paper
28 x 35” framed
2025Series of ten. Currently available at The Compound Gallery in Emeryville, CA.
Hundreds of layered hexagons gradually change shape, expanding the space between lines as they approach the center of the canvas. Flowing biomorphic forms transform into precise geometric structures.
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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Bringing these drawings to life…
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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Expositie Galerie De Waag / KZOD (Works on Paper: De natuur als muze): Het werk van Hennie van den Bosch (1958) en Eva Nordholt (1957) is geïnspireerd door de natuur. Hun vormentaal is heel anders, maar als je hun werken in deze tentoonstelling naast elkaar ziet, valt die overeenkomst meteen op. Ze ademen de serene rust en de schoonheid, de poëzie en de harmonie van de mediterrane natuur. […] https://www.haarlemupdates.nl/2026/05/05/expositie-galerie-de-waag-kzod-works-on-paper-de-natuur-als-muze/?utm_source=dlvr.it&utm_medium=mastodon #Haarlem #expositie #KZOD #DeWaag #WorksOnPaper
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𝙒𝙚 𝙃𝙖𝙫𝙚 𝙏𝙤 𝙆𝙚𝙚𝙥 𝙎𝙞𝙣𝙜𝙞𝙣𝙜 𝙩𝙝𝙚 𝙒𝙤𝙧𝙡𝙙 𝙄𝙣𝙩𝙤 𝙀𝙭𝙞𝙨𝙩𝙚𝙣𝙘𝙚 #5
Acrylic on Arches paper, 22 x 22”
2026#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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𝙒𝙚 𝙃𝙖𝙫𝙚 𝙏𝙤 𝙆𝙚𝙚𝙥 𝙎𝙞𝙣𝙜𝙞𝙣𝙜 𝙩𝙝𝙚 𝙒𝙤𝙧𝙡𝙙 𝙄𝙣𝙩𝙤 𝙀𝙭𝙞𝙨𝙩𝙚𝙣𝙘𝙚 #1
Acrylic on Arches paper, 22 x 22”
2026Series of eight.
Multiple finely-tuned sine wave oscillation functions control the size and orientation of 360 polygons arranged in a circle. Peaks and troughs emerge where the functions converge. The dreamer creates the dream and the dream creates the dreamer.
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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𝙐𝙣𝙨𝙚𝙩𝙩𝙡𝙚𝙙 𝙒𝙚𝙖𝙩𝙝𝙚𝙧 #3
Acrylic on Arches paper, 30 x 22”
2026#generativeart #plotterart #penplotter #abstractart #artforsale #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire
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𝘾𝙞𝙧𝙘𝙪𝙡𝙖𝙧 𝘿𝙚𝙥𝙚𝙣𝙙𝙚𝙣𝙘𝙮 #6
Graphite on paper, 19 x 26”
2026#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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𝘾𝙞𝙧𝙘𝙪𝙡𝙖𝙧 𝘿𝙚𝙥𝙚𝙣𝙙𝙚𝙣𝙘𝙮 #2
Graphite on paper, 19 x 26”
2026A continuous, unbroken spiral of 720 polygons arranged in a circle. Multiple finely-tuned sine wave oscillation functions control the size of each polygon, reaching its peak at the top and bottom of the page. A contemplation of the tides, currents, and lifecycles big and small.
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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This series marks my first use of graphite pencils. This adaptation of my technique really felt like a distillation of sorts, focusing purely on shading and texture.
#generativeart #plotterart #penplotter #abstractart #artforsale #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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𝙏𝙝𝙚𝙨𝙚 𝘼𝙧𝙚 𝙀𝙖𝙧𝙡𝙮 𝙄𝙣𝙩𝙪𝙞𝙩𝙞𝙤𝙣𝙨, 𝙏𝙤 𝘽𝙚 𝙏𝙚𝙨𝙩𝙚𝙙 #5
Graphite on paper
17 x 23” framed
2025On view at The Compound Gallery in Emeryville, CA through March 15, 2026, as part of my solo show 𝘊𝘢𝘵𝘢𝘴𝘵𝘳𝘰𝘱𝘩𝘪𝘤 𝘍𝘰𝘳𝘨𝘦𝘵𝘵𝘪𝘯𝘨. https://shopcompound.com/collections/catastrophic-forgetting
#generativeart #plotterart #penplotter #abstractart #artforsale #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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𝙏𝙝𝙧𝙚𝙨𝙝𝙤𝙡𝙙 𝙤𝙛 𝘿𝙤𝙪𝙗𝙩 #2
Acrylic on Arches paper
17 x 17” framed
2025On view at The Compound Gallery in Emeryville, CA through March 15, 2026, as part of my solo show 𝘊𝘢𝘵𝘢𝘴𝘵𝘳𝘰𝘱𝘩𝘪𝘤 𝘍𝘰𝘳𝘨𝘦𝘵𝘵𝘪𝘯𝘨. https://shopcompound.com/collections/catastrophic-forgetting
#generativeart #plotterart #penplotter #abstractart #artforsale #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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I have a long, enduring fascination with the concept of emergent properties; how complex systems arise from simple interactions. The algorithm I wrote for this series arranges hundreds of line forms in such a manner that produce complex interference patterns. Curving, lenticular textures that pulse with lifelike energy emerge from nothing more than a few straight lines.
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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𝙏𝙝𝙧𝙚𝙨𝙝𝙤𝙡𝙙 𝙤𝙛 𝘿𝙤𝙪𝙗𝙩 #10
Acrylic on Arches paper
17 x 17” framed
2025On view at The Compound Gallery in Emeryville, CA through March 15, 2026, as part of my solo show 𝘊𝘢𝘵𝘢𝘴𝘵𝘳𝘰𝘱𝘩𝘪𝘤 𝘍𝘰𝘳𝘨𝘦𝘵𝘵𝘪𝘯𝘨. https://shopcompound.com/collections/catastrophic-forgetting
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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A robotic pen plotter following instructions produced by a generative algorithm drags a felt-tipped pen filled with water over a shaded background of soft graphite on cold-pressed watercolor paper.
Where the paper is wet, dark black lines form, producing two overlapping triangular helices. From amorphous blobs of carbon, a spark of life emerges.
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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𝙏𝙝𝙚 𝙄𝙡𝙡𝙪𝙨𝙞𝙤𝙣 𝙤𝙛 𝙏𝙝𝙞𝙣𝙠𝙞𝙣𝙜 #1
Water soluble graphite on Arches paper
31.5 x 25.5” framed
2025On view at The Compound Gallery in Emeryville, CA through March 15, 2026, as part of my solo show 𝘊𝘢𝘵𝘢𝘴𝘵𝘳𝘰𝘱𝘩𝘪𝘤 𝘍𝘰𝘳𝘨𝘦𝘵𝘵𝘪𝘯𝘨. https://shopcompound.com/collections/catastrophic-forgetting
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #worksonpaper #moire #sfba
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The opening reception for my solo show is tonight! Join us at The Compound Gallery in Emeryville, CA from 6-9pm.
𝘊𝘢𝘵𝘢𝘴𝘵𝘳𝘰𝘱𝘩𝘪𝘤 𝘍𝘰𝘳𝘨𝘦𝘵𝘵𝘪𝘯𝘨
On view: Jan. 24 to Mar. 15, 2026The Compound Gallery
1339 61st St
Emeryville, CA 94608If you can’t make it in person, you can browse the gallery’s online shop here: https://shopcompound.com/collections/catastrophic-forgetting
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #moire #worksonpaper #sfba
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One week from today! Join us at The Compound Gallery in Emeryville, CA for the opening reception of my solo show, 𝘊𝘢𝘵𝘢𝘴𝘵𝘳𝘰𝘱𝘩𝘪𝘤 𝘍𝘰𝘳𝘨𝘦𝘵𝘵𝘪𝘯𝘨, Saturday Jan. 24 from 6-9pm.
https://thecompoundgallery.com/catastrophic-forgetting-sohan-murthy/
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𝘡𝘰𝘯𝘦 𝘰𝘧 𝘙𝘦𝘢𝘴𝘰𝘯𝘢𝘣𝘭𝘦 𝘋𝘪𝘴𝘢𝘨𝘳𝘦𝘦𝘮𝘦𝘯𝘵𝘴 4
Acrylic on Arches paper
28 x 35”, framed
2025#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #moire #worksonpaper #sfba
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Two more weeks until my show opens and it’s starting to feel really real! 👀
#generativeart #plotterart #penplotter #abstractart #creativecoding #p5js #genartclub #mastoart #moire #worksonpaper #sfba