Click to enlargeSteve and Melissa Kornicki
ECOLOGICAL ART REVIEW
Autumn 2007 Issue
Nature, Art and Technology

Steve and Melissa Kornicki
Ecological Art REVIEW 2007
Nature, Art and Technology ISSUE

From the Editor:

Artists in the 21st.Century are reevaluating their approach to the art making process. Ecological video-artists have started to apply logic and methods to video and digital imaging capabilities while maintaining philosophical as well as aesthetic perspectives in harmony with their new creative paths of expression.

Ecological Art REVIEW guest artists Melissa and Steve Kornicki address these aesthetic and philosophical questions. Steve's essay 'Elemental Transformations' invites our viewers to reflect on the nature of the art generated by these new technologies and its impact on artists and their creative processes.

WELCOME TO

ECOLOGICAL ART REVIEW Autumn 2007 Issue:

Nature, Art and Technology

ELEMENTAL TRANSFORMATIONS

Essay by Steve Kornicki

The interpretation, transformation and manipulation of elements in the natural world may have been the first visual art created by the human race through cave paintings and stone sculptures of animals. We are afforded the opportunity to use our current technological tools to express these visions of nature in new artistic terms and forms.

Video and digital art exists as a temporal framework thus giving the contemporary artist the freedom to interpret the natural world through states of motion, stasis and the simultaneous combination of these two. This new art form combines the technological with the ecological and serves to enhance the viewer's relationship with the natural world and to preserve aspects of nature within the viewer's subconscious. Artists can envision a day when video and digital art may be taken to the next level through holographic, virtual or some other new media form thus allowing for an 'artistic interaction' with interpreted natural media forms.

Visual conceptualizations in this format are an attempt to present a new perspective of natural phenomena through interpretive transformation and they allow the observer to become an active/passive participant according to their level of involvement and appreciation. This process may take the form of a purely appreciative experience, a meditative state or simply as an ambient, environmental background for the participant.

The realization that an artistic piece in this format is constructed from elements of nature may alter the participant's perception to a new plane of consciousness and on a deeper and possibly subliminal level, the piece may touch upon a more primal realm and spark the participant's innate desire to commune with the earth.

August/September 2007 Steve Kornicki

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