ORBIFOLD BY KJETIL GOLID
This was part of an ongoing series of articles that released was digitally in May 2023. They were first published in the print edition of the Bright Moments Quarterly that was distributed at Bright Moments Tokyo in Tokyo, Japan.
Malte Rauch: Thank you so much for taking the time to do this interview, Kjetil! Your work has always impressed me through its focus on the system- and rule-based nature of generative art. “Archetype” feels like an exemplary project to showcase these features of generative algorithms. Where does your interest in computational systems come from?
Kjetil Golid: My journey into the world of generative art began simultaneously with my introduction to coding. Over time, I have developed a variety of approaches to generating works, with my process typically involving the use of existing algorithms or systems, which I manipulate and parameterize to yield new and exciting outcomes.
For me, the process of generative art is more than just visualizing an end product. In fact, I rarely start from a visual image that I try to reproduce through code. On the contrary, my process involves creating a system or structure that serves as the foundation for the entire project. The rendering phase of my process serves as a tool to underscore and accentuate the underlying structure. Systematically, the visual rendering is a derivative of the underlying concept.
My approach to generative art is characterized by a delicate interplay between structure and aesthetic output. I think that this is particularly evident in the intricate details that pervade my work. Overall, I would say that developing and showcasing the underlying structure of a generative system is the central concern of my artistic practice.
Another aspect of your work that really stands out to me is your use of color, which is evocative of elementary Bauhaus palettes but also carries very playful associations. You make some of these palettes available through your “chromatome” library. What is your thinking around color? Is it underwritten by the same focus on systematicity?
Color, as a medium, presents a unique set of challenges when it comes to the generative process. The interplay between different colors is complex. And color combinations that are excessively influenced by randomness can compromise the aesthetics of a generative art project. There are a few projects where I feel that this is the case, even though they are quite appealing on a formal level.
My own approach to color palettes is manual, and I spend a significant amount of time experimenting with different hues to find the optimal combination that works for each project. While some palettes may work exceptionally well for a particular project, they may not be as effective in others. By manually playing around with the palette, I am better equipped to identify and fine-tune the colors to suit the specific needs of each project.
What are the main inspirations in your creative practice at the moment? Are there references in contemporary generative art, the history of art or design that you feel drawn to in your day to day practice?
While I do not rely on specific tools, I have found browsing design websites as well as scientific papers to be an incredibly fruitful means of gathering visual impressions that I can then develop into generative properties. The images and illustrations that I encounter in my explorations serve as a catalyst for my imagination, inspiring me to envision how they could be transformed into generative properties.
I am also very much inspired by illustrators whose work I encounter online. While browsing through these outputs, I pay particular attention to the color palettes and compositions of the images I come across. These details serve as a starting point for me to imagine how they could be manipulated and transformed into generative systems.
Can you walk us through your creative process? What stages do your generative art projects go through?
When starting a new project, my usual process involves focusing on the structure first. I begin by creating general tools for generating structures, without putting too much thought into it. The process is experimental and open at first. These tools are designed to generate patterns and symmetries, regardless of whether they draw lines, circles or other forms. From there, I start parameterizing elements that are not typically parameterized, which allows me to refine and play with the structure further.
To get a rough visualization of the project, I create a crude rendering function. I find that this helps me to better understand the overall form of the structure and how it might interact with its surroundings. Once I have a basic structure in place, I turn my attention to experimenting with emergent behaviors using browser-based tools. This allows me to pinpoint the style that I want to work with and refine the structure accordingly. Only after the basic formal structure is set, I begin to choose colors. So I would say that my process involves a combination of experimentation and refinement, as I work to create structures that are both conceptually compelling and visually appealing.
What are you currently working on for Bright Moments Tokyo?
For my upcoming project, I plan to utilize an algorithm that I started developing some time ago. While it initially presented some challenges, I have since refined it and found it to be a valuable tool for generating unique works.
In the past, I struggled with generating a large number of unique works from this particular algorithm, but I have since been able to expand its parameters, which has given it a larger space to work within.
One aspect that sets this project apart from my recent work is that it is not cube-based. Instead, it utilizes a different approach that I believe will allow me to explore new creative possibilities. I would also say that the colors for the current project are somewhat bolder than in most of my other projects. It‘s a work in progress at the moment. I am not yet ready to share outputs yet (laughs).
How do you approach the concept of IRL minting? Does it play a role in your work on the algorithm?
As an artist, one of my goals is to create work that surprises collectors. In the IRL setting, this is an especially personal experience, and so I want to make sure that the outputs have a consistently high quality while also being able to surprise collectors.
One challenge that I face in creating long-form projects is the difficulty in setting boundaries to avoid undesirable outcomes. This is always a concern, but it is particularly acute in this setting. Generally speaking, I believe that the best pieces are often the simplest and most minimal, although creating these pieces requires a great deal of decision-making about each composition detail. On the other hand, complex pieces can reduce the margin of error, as the sheer amount of things that are going on in the composition tend to balance each other. The simpler the piece, the more likely it is that one small element can compromise the composition.
In my work, I strive to strike a balance between simplicity and complexity. I hope that my work will resonate with collectors and that they will find something unexpected and engaging in each piece when they mint it IRL.
On-chain generative art continues to grow quickly. There are continuously more platforms, more artists collaborating with brands, and the heritage art world is paying closer attention, as evidenced by the recent LACMA acquisitions. Where do you see the space headed? And how do you see your role in it going forward?
As an artist, I find that it is best not to set too many rules for myself. Instead, I prefer to approach each project on a case-by-case basis, allowing myself the flexibility to explore different ideas and techniques as needed.
Coming from the crypto scene, I believe that it is important to strike a balance between staying within the crypto community and exploring outside of it. While I do not feel that it is necessary to limit myself to one particular space or community, I think that I will always want to stay close to this community.
