Print on 350g paper. US PRINT
Editions of 3 plus an Artist's Proof. Signed. Framed
"Future Landscapes" is an AI-driven artistic endeavor that merges the semiotics of landscapes from a range of artistic practices, both Eastern and Western, blending traditional landscape painting elements with futuristic visions. This series not only merges geographical aesthetics but also explores the symbolism and meaning embedded in these diverse terrains.
In each image, the series plays with color, form, composition, and symbolism to create landscapes that are both familiar and otherworldly. Traditional Eastern landscape elements such as mountains, rivers, and waterfalls are juxtaposed with features such as cacti, typically associated with Western landscapes. This combination challenges conventional interpretations and invites viewers to find new meanings in these synthesized environments.
In Western art, landscapes often represent the physical manifestation of the sublime, highlighting the power and grandeur of nature. Conversely, Eastern landscape art, particularly in traditions like Chinese shanshui painting, is imbued with philosophical and spiritual meanings, where mountains symbolize stability and water represents change and fluidity. By integrating these approaches, "Future Landscapes" offers a layered narrative where each component carries its own cultural and symbolic weight, contributing to a complex tapestry of meanings.
The inclusion of colorful animal life and futuristic elements like UFOs adds another layer. Spaceships and ethereal objects can be interpreted as symbols of the unknown, the advancement of technology, or even the human yearning for exploration and understanding of the cosmos. The presence of these symbols in traditional landscapes creates a dialogue between the past, present, and future, inviting viewers to reflect on the continuous evolution of our relationship with nature and the universe.
Furthermore, the use of AI as a creative tool adds a meta-layer to the semiotic discussion. It raises questions about the role of technology in art creation and interpretation, blurring the lines between human and machine in the creative process. This aspect of the series encourages viewers to contemplate the evolving nature of artistic expression and the new meanings that emerge from this symbiosis.
Anne Spalter stands at the forefront of digital art, blending numerous media to explore the intricate landscapes of our modern age. Her work communicates the thrilling yet daunting grandeur of natural and man-made vistas, from boundless oceans to infinite highways, engaging with the timeless aesthetic of the sublime.
Her art serves as a contemplative reflection on the formidable power of transformation. It investigates society’s collective response to significant shifts, and it contemplates potential futures. Spalter’s work reveals an innate human capability for finding joy, celebration, and connection, even amid profound and potentially apocalyptic transitions.
Over the decades, Spalter has positioned herself as a pivotal figure in digital art. She pioneered the establishment of the inaugural digital fine arts courses at Brown University and the Rhode Island School of Design (RISD) in the 1990s, setting a foundation for the future of this burgeoning field. As the author of the globally-utilized textbook, The Computer in the Visual Arts, she has left an indelible mark on the academic exploration of digital art.
In collaboration with Michael Spalter, she stewards Spalter Digital, one of the most extensive private collections of early computer art, underscoring her commitment to preserving the origins of her craft.
In the past year, Spalter’s work has been the subject of numerous accolades and opportunities. She participated in the Massachusetts Museum of Contemporary Art’s (MASS MoCA) distinguished alumni residency, was named one of the top 50 influential crypto artists by Rizzoli, is featured in the upcoming Taschen NFT book, exhibited at the SPRING/BREAK NYC Art Show, and launched the much-celebrated 557-piece RABBIT TAKEOVER drop.
Her innovative NFT video piece, The Bell Machine, was acquired by the Buffalo AKG Museum (and just made the Lumen Prize Longlist), adding to the list of esteemed institutions showcasing her work. Spalter’s works can be found in many private collections and museums such as The Victoria and Albert, The AKG Buffalo Art Museum, The RISD Museum, and The Museum of CryptoArt, Flamingo DAO, the Thoma Collection, and the Progressive Collection.
Spalter’s NFTs have found success at auction through prestigious houses such as Sotheby’s and Phillips, and have garnered media attention, including features in the New York Times. As a frequently-invited lecturer on digital art, she continues to shape discussions on art practice, theory, and the ever-evolving digital art market.