• ArtSticks come with all Moving Paintings in the collection pre-installed. You can unlock additional pieces with purchase at any time
• Displaying art on your TV can be ideal because it's located in the most comfortable spot in your home. Transforming that big black rectangle into a place to enjoy art
• Easy to use:
Plugs into the HDMI port of your TV
• Works on any size HD, 4K or 8k TV
• Moving Paintings are limited editions and comes with a signed Certificate of Authenticity.
• All art works are encrypted and safe
• All hardware is included
“I met Steve Matson over 30 years ago and in our earliest conversations he told me that he wanted to make paintings move. He told me how he grew up in Hawaii where mountains, ocean and sounds are in a constant mercurial dance and he wanted to somehow bring that into his passion of painting. How could you do it; especially back then when visual technologies were at best crude, ridiculously expensive and entirely out of the reach of ordinary people. But the technologies evolved and Matson doggedly held onto his dream, refining his art and mastering the technologies necessary to create what can only be a described as a genre defining art form.
Why moving paintings? Time and dimension are critical elements of our cognition. We move through space, things in space move around us. We literally swim through a sea of movement and time. In static arts forms like painting, photography and sculpture, we also bring movement and time into the experience, but it is something we the viewer add, it is not a product necessarily of the object itself. In dance, cinema or music, the movement through time and space are choreographed by the artist throughout the composition and in this way the artist expands a complete additional dimension. These moving paintings add those additional dimensions of time and motion in a most satisfying way and provide the artist with a narrative voice not seen in the static arts.
FUSION OF FORM & MOVEMENT
The question of how these moving paintings are different than animation or movies is an interesting one. It is best answered in Matson’s process. He uses real paint on canvas, cinematography, digital visual effects and careful animation as any painter would use the different tools in their own work. The results are a multimedia montage that is absorbed into a single medium. We can see this in that one can freeze any one frame in these paintings and perceive the deep consistency that is carried throughout the piece. Not simply imagistically, but in the complete resonance and underlying painterly conception, apparent in every frame, flawlessly flowing within the composition. Matson points out that these paintings contain over 10,000 discrete frames, have hundreds of layers at any one time and can take up to eight months to create. The artist then must become not only be a creator of images, but a composer and conductor of a wildly discomposed orchestra tamed into a symphony.
It is not easy to talk about Matson’s moving paintings without addressing what it is not. We have centuries of exposition and well defined language we get from formal aesthetics and art history. When presented with a painting, sculpture or even with a movie we have a vast criterial inertia that shapes our ideas and opinions. In our minds it is difficult and even dangerous to introduce something that is outside of the canonical rhetoric, especially when asked to use some of the same terminology. But this is how evolution works. I, for one, am beginning to accept digital screens as a canvas, transmuting and immersive imagery as a painting. In Matson’s work, this is not a stretch too far.”
~ J. Steven Perry