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A Glitch “Motus Tenebris (σκοτεινή κίνηση) ~ Ètude I”
by ™℗®© Louis M o n t i e l
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A Glitch "Nocivis Mentis Excessus ~ Ètude V”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
~ FOLLOW ME & SUBSCRIBE ~
Instagram ~ louismontielt
Facebook ~ Louis Montiel
YouTube ~ Louis M o n t i e l
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#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
Her hand hovers near her mouth, ringed, deliberate, unsure whether it’s about to speak or stay silent. There’s a device at her ear something that listens as much as it speaks. She looks like someone caught mid-transmission.
A painted face from another century stares back with the same alarm, but heavier, darker, more final. The skin is bruised by shadow, the eye rimmed with a fear that has already learned its own name. One hand grips the head not in vanity, not in despair exactly, but in the sudden realization that the mind has outrun the body. This is a Baroque gesture, all drama and consequence, where emotion is not internal but carved into flesh and fabric.
You could talk about chiaroscuro here, and you probably should. The painting leans on it, the way terror blooms out of darkness, the way the face seems to surface from the void. The photograph refuses it. Everything is exposed. Nothing hides. And yet the emotion is the same, which tells us something inconvenient about history: that time changes the tools, not the feeling.
Because what this image really stages is a meeting. Not past and present, but repetition. The artist, knowingly or not, has stepped into a pose that already existed, a gesture already haunted. Art history likes to call this “quotation,” but that’s too polite. This feels more like possession.
And as a woman writing about art, you can’t ignore the gendered shift. The original painted figure is trapped in a moral drama: sin, revelation, divine reckoning. The contemporary figure is caught in something quieter but no less severe: self-surveillance, constant awareness, the pressure to be visible and interpretable at all times. One fears God. The other fears the mirror, the feed, the archive. Both figures hold their heads as if to keep them from splitting open.
So the image doesn’t ask which is real and which is imitation. It asks why the expression still fits. Why the face, centuries later, still knows exactly how to look when the mind stumbles onto an unbearable truth.
“The Desperate Man” 1843–45, Gustave Courbet
Today the clock’s been chewing on itself. Memory. Or maybe it’s fear. Those two ride the same bus, different stops. And standing there at the corner, tapping a long, patient leg, is the greatest Louise Bourgeois whom we celebrate today.
Louise Bourgeois came into the world in Paris with thread and needles in the air, tapestries being mended like old stories that refused to stay torn. You can feel that in her work everything stitched back together, but the seams left showing, proud of the damage.
Bourgeois didn’t carve statues to decorate the living room. She built rooms you had to walk into, places where the past sits down beside you and asks what took you so long. Her sculptures don’t pose; they remember. Steel bends like a thought you can’t straighten out, marble softens into something that looks like it’s breathing when you turn away. And then there’s the spider. Big as a day you never forget. Folks say spider and think of fear, but Bourgeois saw a mother; patient, watchful, weaving a world that holds. You don’t have to like it. You just have to stand under it and feel how small you are, how time drips from the legs and hits the ground one second at a time. She worked late into life, too proof that the past doesn’t retire and neither does the urge to make sense of it. Some artists chase beauty. Bourgeois chased the truth until it finally sat still long enough to cast a shadow.
Louise Bourgeois was very clear and very stubborn about not explaining art. She believed explanation weakens the work. The work was meant to be experienced physically, emotionally, even uncomfortably not translated
“A work of art doesn’t have to be explained. If you do not have any feeling about this, I cannot explain it to you. If this doesn’t touch you, I have failed.”
I hear you.
So if you’re driving today, or lying awake counting the cracks in the ceiling, remember Louise Bourgeois, turning memory into matter, fear into form and somewhere a spider keeps working, because that’s what time does. It spins.
watercolor, ink on paper
contact ibarraloana@gmail.com
A Glitch "Defixions Corporis ~ Ètude VI”
by ™℗®© Louis M o n t i e l
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#freestyle #abstractart #digitalart #modernart #design #contemporaryart #COLOR #accessories #unicità #creatività #raffreefly_vendita_opere #design #interiodesign #visualart #visualdesign #visualeffects #visualartist #wallpaper #cartadaparatiartistica #cartedaparati #arteinformado #thotaclub #eartesia #ecletticamente_arte #style #styleart #legadegliartisti #fantasyart
On Thursday 30th June, dot-art ran it's first Introduction to Life Drawing day, led by Roy Munday in Liverpool City Centre. Life model Arthur posed for participants, who were taught the basic skills required, and given individual tuition and feedback.
Well, folks, I’m looking up at this magnificent ceiling, and let me tell you, it ain't just a roof over your head, it’s a whole world up there. A world of light and color, of curves and lines, all the kind of things that make you wanna tilt your head back and take a deep breath.
The golden rings, they got that glow to them, like a fading sunset that don’t wanna leave the sky. And them lights, well, they ain't just bulbs, they’re stars in their own right, spread out, orbiting, sparkling like the first twinkle of the night.
You ever stop and think about a chandelier? It’s like a crystal ballroom where all the dancers are reflections of your thoughts, twisting and turning in the flicker of the light. You got the curves, the arches, each one softer than a lonesome wind blowing through a valley. It's almost as if the whole place is whispering stories, stories from another time, a time when people wore velvet suits, and the air smelled of perfume and cigar smoke. Up here, they’re still dancing, don’t you know? Still twirling and spinning through the ages.
I can feel the history, each brushstroke, each golden touch, they carry the weight of centuries of voices, echoing through the air like a forgotten melody. This ain’t just a ceiling, it’s a living piece of art, alive with every performance that’s been under its gaze. You can see the past in the lines, but you can also feel it in the air alive and well.
So next time you find yourself under a ceiling like this, take a moment. Don’t rush. Look up. Let the lights remind you that everything has its time, its beauty, and its story. And who knows, you might just catch a tune you hadn’t heard before.
At the IMMA, Royal Hospital Kilmainham. Interactive public art installation. Liam Gillick: 'A game of war structure' 2011http://visualartists.ie/listings/dublin/liam-gillick-susana-solano-at-imma-dublin/
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A Glitch ”Palas Atenea(Athēnaiē) ~ Ètude II”
by ™℗®© Louis M o n t i e l
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Today we’re drifting down a long, humid street somewhere between memory and illusion. A place where the air hangs thick and the truth don’t always show up dressed like itself. We’re celebrating a man who knew that territory better than most. Tennessee Williams.
Born where the river bends and the souls keep good company, he came into this world as Thomas Lanier Williams, but like a good riff, he reshaped himself into something that could carry further in the night. Tennessee Williams, that’s a name that sounds like it already knows your destiny.
He wrote about people who were cracked but still catching the light. You know the kind, people leaning out of windows, fanning themselves against the heat, holding on to something that may or may not have ever been real. His characters don’t just walk into a room, they arrive like a storm you can smell before you see.
There’s Blanche DuBois, drifting in on a streetcar named desire, yeah, desire, that old engine that never quite stops running. She’s got one foot in yesterday and the other stepping on a loose floorboard. And Stanley Kowalski, well, he’s the sound of the world knocking back, loud and unpolished, like a screen door slamming in the middle of a dream.
Williams had a way of tuning into the quiet frequencies, the kind most people miss. Loneliness, longing, the soft echo of regret, he turned those into dialogue you could almost sing along, plays that feels like late-night radio transmissions from the edge of something fragile. He never dressed things up too neatly. Life, in his world, is a little frayed at the cuffs. Beauty shows up, sure, but it’s usually sitting next to heartbreak, sharing a drink under a flickering light.
You ever notice how some stories feel like they’re sweating?
That’s Tennessee Williams. The heat isn’t just in the weather; it’s in the pauses, the glances, the things left unsaid. He understood that what people hide can weigh more than what they reveal. And like any good songwriter or playwright, he knew that illusion ain’t always the enemy. Sometimes it’s the only thing standing between a person and the dark.
So if you find yourself wandering through one of his stories, take your time. Sit a spell. Listen close. There’s music in the tension, poetry in the breakdown, and somewhere in the distance a reminder that we’re all, in one way or another, just trying to get through the night with a little dignity left in our pockets. This is Tennessee Williams country. Watch your step.
ink, watercolor on paper
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All right reserved.
For personal use only - this image, or derivative works, can not be used, published, distributed or sold without written permission of the owner.
A Film Glitch "Gorgone (μέδουσα) ~ V 1.0”
**Better Sensitive Experience Wear Headphones**
*See Complète Film in IGTV@louismontielt
WARNING:
" THESE COMPOSITIONS ARE SO DARK & BROODING FULL SENSITIVE THAT THE SOUNDWAVES CREATE A SEDUCTIVE BRIGHTNESS " ~ Permission ~
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
All Digital-DATA-Video POST~creative Programming-sensitive & Art RE-sourses:
ADOBE Systems Creative Cloud 2020. FINAL Cut PRO X. Processing.LiVECoding.TOUCH DESIGNER.Python.OPENgl.&P5.js. APP’s CREATIVE ART.
MACINTOSH OSX Big Sur. Logic Pro X. REASON. ABLETON-Live. AUDITION CC 2020. Musique aléatoires(T:screen). CUBASE. StudioLIVE ARB 24BIT Presonus i:S a m p l e r & GliderVerB. MiX-PADS. PROTOOLS. Delirium-M U S I K EXP-erimental. OZONE 7 Advanced.KORG VOLCA BEATS. MASCHINE-NaTive INS-truments. ELEKTRONG´S ANALOG RHYTHM. GLITCH-MUSIK:binary CODE. & HEAR-ing Sensitivity Instrumentation & Improvisation.
by ™℗®© Louis M o n t i e l
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait
I am Rukshana Hooda, a Visual Artist from the Sir J.J. School Of Art & Sophia College, Mumbai I have an assorted Genre, Very Varied, From Abstracts, Landscapes, Charcoals, Moghal-Art, Human forms, Warli, Historic, & alwayz inspired by Nature around me, its beauty, its serenity, solitude is sometimes Heavenly to me.... If you would like to own an original, unique painting, or buy someone a very special gift, please check out my paintings
“Pablo” 2010
70cm x 50cm
acrylic, embroidery, silver and gold details on canvas.
(sold)
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The art of sittin’ still. Thinkin’ things over. Not rushin’. Not fixin’. Just bein’.
Some folks think contemplatin’ is just another word for daydreamin’. But I say it’s more like starin’ at an art work inside Glyptoteket with a blindfold on, you might not see much, but you sure as hell feel it. It’s where the ray light curls slow, and the answers don’t shout, they whisper.
You see, in the fast food century, with its buzzin’ phones and twenty-four-hour news hurricanes, contemplation is like tryin’ to read Whitman in a wind tunnel. But some of the finest paintings I ever painted so far, well, started with just sittin’ by a window, watchin’ the trees argue with the wind.
Contemplation’s got a cousin named Silence. They used to run together, back in the old days. You’d find ’em both sittin’ on a front porch somewhere in Tupelo, drinkin’ sweet tea, not sayin’ a word. But boy, you could hear ‘em thinkin’.
In Japan, they call it zazen. In France, it’s réflexion. In the Delta, they just called it "stayin' still long enough for your soul to catch up."
Sometimes you don’t find the truth by diggin’. You find it by sittin’ down and lettin’ the dust settle.
So search for your spot. Open a window. Turn down the noise. And maybe, just maybe, if you listen real close you’ll hear your own heartbeat tellin’ you a story.
// your always truthful Loana Ibarra
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Peter D. Gerakaris, Echo Garden Tondo, 48 in. diameter, Oil over polymer on canvas © Peter D. Gerakaris. Private Collection (San Francisco, CA) www.petergerakaris.com/paintings/
Anna Maria Janiszewska is a photographer, visual and installation artist best known for her analogue photographic work. Having grown up Poland and moving to Ireland in her early twenties she studied at the Institute of Art, Design & Technology in Dun Laoghaire and Ireland’s National College of Art and Design. Janiszewska is interested in using photographic tools and processes to rupture the reality of the everyday, skewing documentary and fiction in order to highlight alternative ways of seeing and experiencing. Over the years her photographic works have been exhibited in many places in Ireland and Poland.
Le projet « Accident » s’inscrit dans une démarche visant à s’interroger sur le Moment Présent.
Notre vie se réalise dans le temps présent. Mais cette réalisation, n’est-elle pas plus souvent le fruit d’un « accident » ?
« Accident » est vu comme une mise en situation par le prisme d’un œil dysfonctionnant aléatoirement.
A Glitch "Intimité aux Fleurs du Mal ~ Ètude I”
This art piece were created for my PhD and based on a Digital and Analog Aesthetic Research on "Artistic Practices, Digital Art in Social Networks and Net Art", some digital techniques used of artistic diversity, such as the re-mixed appropriation of image or video, also work conceived as original data work called creative altered binary code, datamoshing, generative art and glitch art worked in all its forms and expressions; works of art with a strong focus decoding the i-frames of images and videos (also known as key frames and altered or distorted creative binary code) mixed with seductive techniques of Pixelsorting Art; making it seem extremely sensitive and abstract; created exclusively for the virtual gallery on-line.
by ™℗®© Louis M o n t i e l
~ FOLLOW ME & SUBSCRIBE ~
Instagram ~ louismontielt
Facebook ~ Louis Montiel
YouTube ~ Louis M o n t i e l
Vimeo ~ Louis M o n t i e l
#visualartists #glitchart #glitch #glitché #pixelsorting #glitchartistscollective #glitchvideo #datamosh #digitalglitch #videoglitch #hyperspektiv #minimalart #videoart #dfkt #pixelsorter #artistsvisual #glitchartoninstagram #glitchartscollective #glitcharts #glitchartistcommunity #glitchartwork #error #glitchartists #glitchartcommunity #glitchartistcollective #glitchartist #pixelsortingart #proceduralart #creativecodeart #glitchportrait