Known as VJ Xorume, Alexandre Rangel is a multimedia artist and software developer working with video art and audiovisual software development. Alongside his creative talent, he holds a PhD in Art and Technology from the University of Brasília and has developed the main program tool, “Quase-Cinema,” for his artistic activity.
Quase-Cinema is a computer program dedicated to editing and presenting a live video simultaneously to the public for improvised audiovisual creation, experimentation and art education. The name Quasi-Cinema is a tribute to the artist Hélio Oiticica and filmmaker Neville d'Almeida, who named their technological audiovisual experimentation projects: “a field of transgressive experiences within the universe of media or technically produced images and sounds.”
His work holds facets that explore the innovative technique known as generative art. From previous pieces that oscillate between two dimensionalities on the digital screen and the fourth dimension of animation to remixing computational dynamics, Rangel continues to use his gift for technology to include algorithms for the creation of his images.
Sun Mandalas NFT Collection Dropping on Portion
Code mandalas to cure the world, created with Hydra code programming by artist and audiovisual healer Alexandre Rangel. His creative coding is transformed into the universal language of symbolism as a way to connect to higher dimensions within ourselves, using the symmetry of colors and shapes and equalizing emotions according to rules of nature’s sacred geometry. Hidden mathematics, sacred numbers, patterns and rhythms of life as technological psychovisual tools for spiritual enlightenment. Energy resonance, frequency and vibration as reminders of human nature as a constant evolution.
This limited edition NFT drop will be released on Thursday, November 18, consisting of 10 individual pieces and priced at 0.8 ETH each.
Hi Alexandre! Can you introduce yourself and expand on your journey of becoming a multimedia artist? When did you get started creating art, and how has your style evolved over time
Hello, friends at Portion! I'm very glad to be showcasing and talking about my work! I have been in love with video art since the 1980's, getting to know Bill Viola, Maya Deren and Nam June Paik. That was when I started working with analog video editing and also software development, on an AppleII than a Commodore Amiga, which was great for video work.
My production has always been very much interweaved with my Academic research. When I finished my Bachelor in Fine arts, I created an open-source live video performance software, called Quase-Cinema (Almost Cinema), as a homage to the Brazilian contemporary art heritage from artists such as Hélio Oiticica, defying the rules of the artistic medium. I worked with that as VJ Xorume, all the way to my Master's in Art Education and my PhD in Art & Technology, focusing on the role of the artist as creator of computational experiences. My style is slowly gravitating towards minimalism and optical art.
You are releasing some new generative animated art works on Portion, the "Sun Mandalas". Can you tell us a bit more about the creative process behind them, their meaning, and how they were created?
I find the Mandalas a perfect symbiosis between ancient and modern technology, and also it's when I can work as an artist as a kind of soul healer. The creation process is all engineered with computer code and open to hand gestures interaction, so as to mix the emergence of code visuals to the real time response of the artist as a performer/dancer.
I have been making collective screenings of the works, as large scale projections, called "Mandalas to cure the world".
You are a generative and multimedia artist, and a software developer. How do you think new technology such as NFTs have facilitated and informed your work?
It just turned my world upside down. In the previous 30 years working with digital art, I had never had such visibility and the possibility to sell the works, as we couldn't certificate the authenticity of the pieces before.
How long does it take you to craft a generative piece? Do you start with a clear vision, or does a piece take shape as you work? Which generative piece is your favorite from those that you have created?
How do you envision your creations being used? How do you want your audience to interact with and interpret your designs?
I love when the audience gets puzzled by a piece, not knowing if it's a game, an animation, or a mirror to one's soul. The Mandalas have the power to really change the spectator, relying on the neuroplasticity capacity of our brains to adapt and evolve on contact with new (visual) experiences. I see them as magical equalizers of energies.
Generative art has a very rich history, with a long line of artists that has been working with this medium. When creating your pieces of generative art, where do you find inspiration? What artists, current or past, do you find to have informed your practice the most? How?
On the op-art I can summon Sol LeWitt, whose works have many rules and algorithms - but all without any computer code, just written instructions. And on the musical side, I always look and get inspired by the rules-based compositions of John Cage. Again, full of rules and generative, but all prior to computer wizardry. Now on the technical shore, I must remember that I stand on the shoulders of giants, the creators of my main tools: Olivia Jack (Hydra) and Ton Roosendaal (Blender 3D).
Lastly, you have used data such as both Ethereum and Tezos price in your artworks. How do you think you might integrate data and information like this in your pieces in the future?
I believe this integration between blockchain technology, the real world and the Internet of Things might change the way we create and perceive art and its connection with society and individuals.
Tune in on 11.18 for Rangel’s Sun Mandalas Collection Exclusively on Portion.
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