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Darcy Gerbarg

Country/Region china
Company Ulster Artists Online limited
Categories 15 inch Digital Photo Frame
ICP License Issued by the Chinese Ministry
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Darcy Gerbarg

Artist Statement

The Syracuse Paintings

Darcy Gerbarg’s latest body of work, The Syracuse Paintings, were painted in a Virtual World. They benefit from her long-time practice, in acrylic paint, that employs large gestures Her formalist approach, focusing on color and where it sits in space, on a two-dimensional picture plane, comes from her earlier, large scale, acrylic paintings.

Using the 3D paint system, Tilt Brush, Gerbarg makes expressive strokes of color with digitally simulated brushes, that she selects for size and other attributes. Wearing 3D goggles, in what appears to her at the time, as an empty black space, she paints a 3D painting, in colored light, around herself.

But this is just the first stage in Gerbarg’s process. From there she takes edited snapshots” of views of this 3D painting: inside, outside, from above, from below, down from the top, bottom and across. These images are then further edited and manipulated digitally in PhotoShop to create the final images that will be printed out, at Light Work, using large scale printers, on 42” or 60” wide canvas rolls.

It was in 1979 that Gerbarg started using computer graphics technology to create Art. She worked with user friendly, interactive color paint systems, alongside the computer scientists, in the research and computer animation laboratories, where these systems were being developed.

Until that time, Gerbarg was primarily using pigmented paint mediums to make large paintings on canvas. Frustrated with the limitations of physical mediums and believing that the leading artists of each generation were using the latest technologies available in their fields, she set out to find the latest technology for the visual arts. She was familiar with electronic music and thought there would be a counterpart for the visual arts. As a painter, Gerbarg was not interested in moving images, so she did not focus on digital animation or video which were also just then being invented.

From the second Gerbarg first used a paint system, she knew it was a tool that could serve her sensibilities. It was direct, controllable and seemingly infinite in its capabilities. Her art practice since that time, in 1979, at the New York Institute of Technology, is the record of her explorations using this new digital medium, the development of the medium itself and its applications in the production, and fabrication of art works, in many traditional art media.

Gerbarg has been an artist in residence and a visiting artist at several research laboratories, including both the Robotics and Manufacturing Research Lab and most recently, The Future Reality Lab, at Courant Institute for Mathematical Science, NYU; MAGI SynthaVision; and the NYIT Computer Animation Lab; among others, on both US coasts.

In addition to making art, by mounting art exhibitions for SIGGRAPH initially, and then elsewhere, giving talks and presentations internationally, and as an adjunct professor at New York University, the School of Visual Arts, the State University of New York at Stoney Brook, among others she has also been active in promoting the use of digital technology in the arts

Gerbarg continues to show her work in group and one person exhibitions. Her work is currently available through Mark Borghi Gallery.

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