Medium Type

Digital illustration

Process

Databending

Year

2010-2020

Fausto’s artistic concepts are developed around the idea of a “glitch”, literally an error in the system, sometimes visually unsetting, intentionally created to be “bad art”, “error art”. Glitch art could be painful to watch but surely it is more challenging to create; it is a forced error, a controlled one, but could be very random at the same time. Glitch art isn’t so contemporary as many thinks; artists like Mary Hallock Greenwalt or Len Lye were definitely pioneers in this field, with their “hand-painted movies” in the early 1900’s. Fausto starts to create this kind of visuals in 2010; on purpose he never aimed to the big audience, maybe hiding from it in more than a way, likewise he rarely uses his real name in the art business. His visuals started with applying cut-up techniques to his collages; inspired by the beatniks William Burroughs and Antony Balch. Not happy with the final results he was obtaining, he start to destroy his own productions with new methods, like “data-moshing” or “data-bending”.

Along the way in his productions there is a common denominator emerging (in his works), something that could be identified in the creations of apparently random patterns; something he know very well from his textile background. He received several personal message from his many “heroes”, complimenting for what he was achieving in the process of destruction; one of the nicest words came from Bill Etra (RIP), the creator of the video synthesizer. Fausto’s artworks goes, sometimes, deeper into scientific and humanities fields of sorts, like deep neural networks, radio audio signals, sonifications, semiotic and semiology, psychology and philosophy. One of his many questions raised in the research of aesthetically, nice in the eye beholder, imaginaries, is (with his words): “could the brain decode glitch art, since the same amount of pixel of the original picture, before manipulation, are there, and could actually perceive the crypted- original visions/messages embedded in the final work?”