In the expansive realm of art, there exists a moment between the crescendos of expression – a pause, a stillness, a space for reflection. This moment is what we fondly refer to as an 'interlude'. It’s the silence between two musical notes, the pause between acts in a play, the space between chapters in a book. In the context of generative art, the interlude becomes an intriguing concept to explore, especially when juxtaposed against organized squares – an embodiment of order, structure, and symmetry.

Generative art is an artistic practice where algorithms, primarily executed by computing processes, are employed to generate patterns, shapes, colors, and other visual phenomena. What sets generative art apart from traditional art is the role of the artist, who doesn’t merely create a static piece, but rather crafts a set of rules or algorithms that give rise to myriad unpredictable, yet bounded, outcomes. Thus, the artist becomes a designer of systems, setting the stage for creativity to emerge from a dance between chance and order.

Now, let's take the motif of organized squares. At first glance, squares epitomize the very essence of order. Their four equal sides and right-angle corners are the epitome of geometric precision. They’re predictable, structured, and comforting in their uniformity. But when they become the subject of generative art, these simple squares can evolve, change, and dance in unpredictable patterns, morphing into complex configurations that are a feast for the eyes.

In this context, the interlude can be envisioned as a space or a phase where the organized squares, after a frenzied bout of generative permutations, come to a fleeting moment of stillness. It's a moment where the viewer can pause, reflect, and appreciate the journey thus far, before diving back into the chaotic beauty that generative algorithms conjure.


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(c) Cristian Rohr 2023

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