The process of creating this piece is akin to visualizing the butterfly effect. I introduce chaos to skew the assemblage of vector data preordained to resemble a painting I made of the M87 black hole. As I load the data into an interpreter program, from which this piece was made, a camera captures my image. Gestures I make with my body alter the interpretation of each line of data as it’s being loaded. Each and every one of the 556,252 unique shapes begin the loading process knowing their intended targets. The shapes are on a mission to recreate the painting I made of the black hole, only to be rerouted by the unseen forces my movements cause on the data.
I greet chaos not only with my improvised dance but also in the unreliable blob tracking algorithms I utilize. The result isn’t as much a glitch of vectors as it is a representation of the popular proverb, “the best-laid plans of mice and men often go awry. No matter how carefully a project is planned, something may still go wrong with it.” But for chaos, my interpreter program is capable of perfectly recreating my original painting. I am investigating the aesthetics that result from the random and erratic, suggesting all that goes wrong is sometimes right; that the design choices I made in the original painting can survive outside that rigid data structure. I am searching for the best wrongs; the wrongs that outshine my perfectly laid plans.