NATURE FINDS A WAY. BY SPONGENUITY
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: Hi Samer, thanks a lot for taking the time to do this interview! The last time we spoke was in the summer of 2022 when you were preparing the “portrait lab” for Bright Moments London. How did you experience the event and your project?
Spongenuity: The experience was truly transformative and allowed me to see my work from a different perspective. As a portrait artist, I had previously focused on capturing a single model using a photograph. My method was fixed, to a certain extent. However, with this new project, I had the opportunity to work with a hundred people over the course of a month. My goal was to capture a piece of their story or evoke an emotion that emerged from the interaction with them.
The way I approached my work evolved, but what I found most interesting was the impact it had on others. I realized that for each person who came into the room, it was a unique experience – similar to the wonder I felt the first time I created a portrait. They were fascinated by the process: pressing the big red button, watching the pen move around the page in a single line, and eventually recognising themselves in the scribbles on the page.
I initially planned to fill the 10-minute drawing time with conversation, thinking that people wouldn't want to stand there and watch the machine work for that long. However, I didn't need to do that, as people really enjoyed watching the machine create their portraits.
After Bright Moments London, you joined the Bright Moments team to support the operations in London. What is it like to be wearing two hats at the same time?
One of the key benefits of participating in the portrait lab was the opportunity to work closely with the Bright Moments team. This experience gave me a lot of insights into their work dynamics. Transitioning into managing the Sub-DAO was initially challenging, but the support I received from the team has been great, making the entire process enjoyable. I feel genuinely supported by the team. One of the advantages I've experienced is having my wife, Hanan, join me on the team. I consider myself extremely fortunate to be a part of such a supportive and close-knit group.
For Bright Moments Tokyo, you are working on a long-form generative art project, which marks a departure from your previous focus on portraits. What is it like to work on your first long-form project?
For my collection of 100, I decided to venture into creating my first abstract composition. I aimed for this composition to be distinct, both from my previous work and from most of the pieces in the collection. The technique I used, called Reaction Diffusion, is a simulation of nature found everywhere, from cell division to a leopard’s spots. I've been experimenting with the algorithm for five years, and have used it in some of my portraits, but I have never created an abstract composition with it before.
The outcome is a unique departure from my usual subject matter, and yet it is still true to my style. The generative aspect of the composition also resonates with the human element at the heart of my work. The seemingly random patterns and paths eventually arrive at a point of completeness, embracing asymmetry and imperfection.
I believe that humans are inherently generative beings, and this concept has always been an integral part of my artistic approach. The same element of randomness I employ in my portraits to create a person is also present in my other works. So I view these different creative aspects as interconnected.
The most significant challenge I faced was transitioning from the individuality of creating generative portraits to a long-form generative art project subject to randomness. Instead of tweaking parameters, I had to curate every aspect through code.
Additionally, I chose to use shaders for the first time. Prior to the Bright Moments event in Mexico, I was hesitant to work with shaders, but with support from fellow artists, I embarked on the journey to learn them. When Seth approached me to contribute to the Tokyo project, I decided to challenge myself and incorporate shaders into my first long-form project.
What do you associate with Tokyo? Does the fact that this project will be minted in the city play a role in your creative process?
Having visited Tokyo three times, I always return feeling reinvigorated and inspired by the city's unique energy. Tokyo is a bustling metropolis. What stands out to me, however, is encountering individuals who are on their own unique journeys in the midst of this energy.
On the first day of my most recent trip, just ten minutes after leaving my hotel, I met and connected with someone working with plotters and robots. He showed me his studio and even invited me to work there whenever I wanted to. This encounter highlights what I love about the city. Tokyo has such a vibrant culture, meticulousness, and attention to detail to it, and there are so many amazing individuals you can meet there.
The creativity in Japan is truly remarkable and often seems to be way ahead of us. In my experience, the culture is more accepting of creativity and investing time and effort into one's craft, no matter the field. This dedication is evident in even the smallest details, such as selecting the perfect pen for signing a piece of paper. I appreciate this granular approach, since it resonates with my own artistic values. Every time I visit Japan, I find myself spending hours in stationery shops, looking for the perfect pens for my plotter work. I always marvel at the vast array of specialized pens designed for every specific use and niche.
While working on my upcoming project, I had the opportunity to spend time in nature during Japan's cherry blossom season. This experience proved to be incredibly inspiring, as I observed the shared patterns between my work and the natural world.
Going forward, do you wish to continue with abstract long-form projects? Or do you intend to focus more on portraits?
I am excited to continue working with abstract compositions and long-form projects, as they have challenged me to think differently over the past few months. While I love creating portraits and have found my niche in that area, I am keen to explore more abstract work from time to time, as it helps break the routine of my usual creative cycle.
I previously had a slow progression with shaders. The language works directly with the GPU, and if there's an error, nothing works, making it quite difficult. However, with encouragement and guidance from Piter Pasma and Mario Carillo, I gradually overcame my fear and began to learn and implement shaders in my work.
Now I am quite happy that I accepted the challenge. This learning curve played a significant role in my project for the Japan show. Although using my usual programming languages might have worked as well, I chose to challenge myself by incorporating shaders. This experience has taught me how to work with real-time animations and simulations, which I believe is the next step in my artistic evolution.
In the future, I envision combining my love for portraits with interactive works, creating an immersive experience for viewers. I believe this approach will enable me to take my work further, allowing audiences to engage with my art on a deeper level.
Finally, I would like to ask how you envision the IRL minting process? What is the type of emotional response that you imagine collectors to have to your work?
I hope that, in some way, viewers can feel a connection to my abstract compositions, similar to the connection they might have with my portraits. Even though the work is abstract, I want them to see something of themselves in it, or at least recognize the natural growth and melding of elements that create the piece. Ultimately, I would like for viewers to simply appreciate and enjoy the art. Sometimes, it can be as simple as that.
