about the digital art
Thinking of an art without matter and without that "work with the hands" that has always distinguished the artist is still difficult today. Even the first photographs immediately aroused the interest and wonder of the curious who crowded the increasingly frequent demonstrations of the process. They were stunned by the fidelity of the image and how we could distinguish every single detail, others feared a abandonment of painting or a drastic reduction of its practice. This did not happen, but the birth of photography favored and influenced the birth of important pictorial movements, including Impressionism, Cubism and Dadaism. Probably it will not be called art for a long time, but the digital revolution is modifying, once again, the creation of images and their diffusion. Digital art, or rather the creation of images in which computer tools have a preponderant weight in the realization, "is a revolution started in the '60s and even if today finds its own point of maturation, it still meets great distrust from part of the great public precisely by virtue of the technological means by which it is realized. And just as it was believed that photography imprisoned the soul of him who was portrayed, today we tend to believe that a computer is enough to make a beautiful picture. In fact, even digital art deals with the themes of traditional painting: you can decide to paint an oil landscape or make a nude, or paint a portrait, as well as you can decide to address these issues with the use of cameras, or in digital key. In fact, the computer, like brushes and oils and cameras, is just a means that the artist uses to say something. If you have nothing to say, the computer, the camera or the brush remain unarmed instruments. To dictate the continuous changes are no longer tables and canvases or pigments and binders, or cameras with precision lenses, double exposure, photomontage techniques and rollers with silver nitrate emulsions, cadmium bromide and jelly overlays to get different colors , but the incessant proliferation of new hardware and software. Obviously these new image processes impose a new market model no longer based on the uniqueness and non-reproducibility of the work, but on its dematerialization and release in the form of an algorithm (concept) that allows, on the one hand, an immersive, personalized and on the other hand an interactive, collective, shared and free consumption where the same work can be downloaded via the web. And it is precisely because they are never simple reproductions of images but conceptually unique works, that these become unique paintings derived from a main file created by the artist and then jealously filed.