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Newest Collection: FDMA5 - Full Digital Modern Art 520 May 2019This week's new collection is FDMA5. Like its predecessors (1, 2, 3, 4), these works all come from the same source, malfunctioning in a variety of different ways and with different backdrops and attitudes attached. Starting off, Intermittent Gardens and Intermittent Lava come as a pair, boasting extremely similar compositions to each other in all respects besides their color schemes. The different emotional response evoked by each of them speaks to the importance of that particular aspect in a work's composition. Video Interference takes a middle ground between the two, opting not for either color but for a stark monochrome and thin horizontal lines of various shades of gray, which give the impression of precise control and suppression of feeling. Array of Hardly-Marked Pillars is the most colorful work in this collection by a wide margin, and while the same motif is somewhat visible in its composition, the activity of color across the image distracts from that and paints a picture of a setting, rather than of an emotion. Cross Sections of Rings takes what might otherwise be one of the more generic works in this collection and adds discrete, layered shading to it to provide a unique sense of depth that a simple gradient would never be able to. The blurriness of the horizon, as portrayed by this work, is evocative in a way that a sharp image couldn't be, making the work much more interesting. However, my personal favorite work this week is Cubism, a work with a wholly unique compositional style compared to any other work in this gallery, which somehow manages to break from the motifs that its sister works are bound to follow. As is reflected by its name, Cubism alludes to a real artistic style and movement, doing so with just the type of color scheme to be the most effective in that endeavor. Please enjoy! |
This work is overtly positive, mainly through its choice of palette. And yet, it remains somber, also partly through its choice of palette, as well as in structure as the negative space in the foreground seems to gaze into the distance. It also serves as a good example of a work that shines in its simplicity.
Why are ponds green? I dunno. But then, sometimes you just have to jump in, and maybe it'll make sense. This was the first work ever uploaded to Monitors of Modern Art, and serves as a strong start by presenting a simple, meaningful metaphor.
Gradient in Stages is a work that is unapologetically genuine in a way that almost no other work in this entire gallery can be, and which manages to be wholly unique in its compositional design. Very little of this work was manufactured after the fact - what you see is almost exactly what the monitor looked like before I took the photograph, and it remains, in my opinion, the most incredible monitor I have ever found.
This work, though not at all new, is notable for being completely unique among all the other works in this gallery in its texture. While most works have more defined changes in color, or more digital feels, the rounded, almost blurred and genuinely watery-looking contours, color changes, and light refractions make this work truly one-of-a-kind.
This is a fantastic work with a vey unique composition and a fascinating use of negative space and color to portray what looks like a window into a new, fantastic universe. It was taken at the same scale as most of the pixel art in this gallery, and yet does not look like pixel art at all - the work's brightness and outward motion, and blotchy shading, make it completely individual.