Slipstream

Lumen & Logic

An abstract graffiti mural of swept volumetric ribbons on a sprayed navy wall, painted twice — once as itself and once as its own slipstream. Every form is one primitive: a spine polyline swept at a width profile with a roll angle, sampled as a parametric surface so a single piece of geometry gives the silhouette, the smooth transverse light ramp across the band and the darker underside that appears wherever the roll carries the surface past the horizon — a blade tapering to a point, a wide band curled past a full turn so it passes over itself, narrow shards, hard-edged backdrop slabs and long spars, all lit by one fixed upper-left light and laid out along one flow angle by a seeded layout family. Because every form is built as data before anything is painted, the whole composition exists as an analytic scene that can be asked for its colour at any point without being rasterised, and the picture's second half is a drag over that scene: a raking band of ruled rows, each walked left to right emitting round-capped capsule dashes whose colour is the scene sampled once at the dash's head and then carried, lifted toward the palette's brightest and slightly hue-jogged, along the dash's entire run. A dash therefore keeps the colour of the place it began even after it has left it, so warm streaks pour out of a rust plane and run on across the navy ground and across the blue coil, and the streak field reads as the sculpture smeared sideways rather than as confetti scattered over it. Runs end where they have crossed a set number of form boundaries, so busy passages come out as short ticks and open ones as long sweeps; row phases are correlated by a slow noise so runs in neighbouring rows agree and gather into vertical-edged slabs; row pitch converges toward the band centre so the field reads as the scan lines of a plane in shallow perspective; and a share of dashes take the ground colour instead and cut the slabs into strips. Under all of it the wall is airbrushed rather than flat — slow clouds, tone-on-tone ghost shapes that never come forward, and an overspray speckle that tightens into a halo along every silhouette — and over all of it hang thin tapering paint runs that bead at the tip. Depth is the ramps, occlusion and the rake alone: no cast shadow, no perspective projection, no blur and no type anywhere.

Medium

Generative algorithm, archival pigment print

Dimensions

90 × 60 cm