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GENNA GURVICH

Multidisciplinary, Multidisciplinary Art

The primary interest in his practice, Genna Gurvich considers the interconnections and interdependencies in the history of art and culture as a whole. Utilizing computer algorithms, he creates a new visual panorama of these relationships. The art History, as a parallel reality, provides an opportunity to reflect on ourselves. To see how our identity evolves.

About the Artist

  Genna Gurvich is a conceptual, multi-disciplinary artist born in Kiev, Ukraine and now based in Baltimore.   He is a graduate of the Kiev Institute of Applied Arts and Design (Ukraine) and has a Master’s degree of Complex Design from the St. Petersburg Academy of Art and Industry (Russia). Since his arrival to the United States in 1997, he has been exhibited and been commissioned for various projects throughout the country.  

GENNA GURVICH website gennagurvich GENNA GURVICH website gennartstudio

Artist's Statement

Imagine a special art history where each painting is represented by a single pixel, created by averaging the painting’s color palette. The uniqueness of each pixel lies in its almost unrepeatable color. In the digital world, the simplest color model contains 16.8 million color variations. This allows me to combine large arrays of pixels into compositions that reflect periods, collections, or art movements and compare their chromatic differences. I can pose both simple and complex questions that have not been asked before: * Is there a difference between artists whose names start with the letter A and those with the letter Z? * How do various art movements differ from one another? * What are the unique features of museum collections? * How do the color palettes in the paintings of men and women intersect? * Are there noticeable differences between pre-war and post-war years? * How does the color palette of an artist’s work change between youth and maturity? * A comparison of official and unofficial art in the USSR and Nazi Germany.          *         Is there a noticeable difference in the palettes of good and bad paintings (expensive and inexpensive)? * Comparison of the color palettes of nations. And so on…

Featured Work

Photos

Imagine a special art history where each painting is represented by a single pixel, created by averaging the painting’s color palette. The uniqueness of each pixel lies in its almost unrepeatable color. In the digital world, the simplest color model contains 16.8 million color variations. This allows me to combine large arrays of pixels into compositions that reflect periods, collections, or art movements and compare their chromatic differences. I can pose both simple and complex questions that have not been asked before: * Is there a difference between artists whose names start with the letter A and those with the letter Z? * How do various art movements differ from one another? * What are the unique features of museum collections? * How do the color palettes in the paintings of men and women intersect? * Are there noticeable differences between pre-war and post-war years? * How does the color palette of an artist’s work change between youth and maturity? * A comparison of official and unofficial art in the USSR and Nazi Germany. * Is there a noticeable difference in the palettes of good and bad paintings (expensive and inexpensive)? * Comparison of the color palettes of nations. And so on…
Imagine a special art history where each painting is represented by a single pixel, created by averaging the painting’s color palette. The uniqueness of each pixel lies in its almost unrepeatable color. In the digital world, the simplest color model contains 16.8 million color variations. This allows me to combine large arrays of pixels into compositions that reflect periods, collections, or art movements and compare their chromatic differences. I can pose both simple and complex questions that have not been asked before: * Is there a difference between artists whose names start with the letter A and those with the letter Z? * How do various art movements differ from one another? * What are the unique features of museum collections? * How do the color palettes in the paintings of men and women intersect? * Are there noticeable differences between pre-war and post-war years? * How does the color palette of an artist’s work change between youth and maturity? * A comparison of official and unofficial art in the USSR and Nazi Germany. * Is there a noticeable difference in the palettes of good and bad paintings (expensive and inexpensive)? * Comparison of the color palettes of nations. And so on…
Imagine a special art history where each painting is represented by a single pixel, created by averaging the painting’s color palette. The uniqueness of each pixel lies in its almost unrepeatable color. In the digital world, the simplest color model contains 16.8 million color variations. This allows me to combine large arrays of pixels into compositions that reflect periods, collections, or art movements and compare their chromatic differences. I can pose both simple and complex questions that have not been asked before: * Is there a difference between artists whose names start with the letter A and those with the letter Z? * How do various art movements differ from one another? * What are the unique features of museum collections? * How do the color palettes in the paintings of men and women intersect? * Are there noticeable differences between pre-war and post-war years? * How does the color palette of an artist’s work change between youth and maturity? * A comparison of official and unofficial art in the USSR and Nazi Germany. * Is there a noticeable difference in the palettes of good and bad paintings (expensive and inexpensive)? * Comparison of the color palettes of nations. And so on…
As we can see, the result of these two parts is very similar in color and distribution of pixels in the composition. The question arises: is it possible to connect authors in such a way that the color palette of one group would differ from another. The history of art itself gave me a solution - I need to take artists of the same direction, or style. Small groups (up to 100 authors) are obtained. Each of them has a specific flavor, saturation and even color contrast.
Imagine a special art history where each painting is represented by a single pixel, created by averaging the painting’s color palette. The uniqueness of each pixel lies in its almost unrepeatable color. In the digital world, the simplest color model contains 16.8 million color variations. This allows me to combine large arrays of pixels into compositions that reflect periods, collections, or art movements and compare their chromatic differences. I can pose both simple and complex questions that have not been asked before: * Is there a difference between artists whose names start with the letter A and those with the letter Z? * How do various art movements differ from one another? * What are the unique features of museum collections? * How do the color palettes in the paintings of men and women intersect? * Are there noticeable differences between pre-war and post-war years? * How does the color palette of an artist’s work change between youth and maturity? * A comparison of official and unofficial art in the USSR and Nazi Germany. * Is there a noticeable difference in the palettes of good and bad paintings (expensive and inexpensive)? * Comparison of the color palettes of nations. And so on…
Having spent countless hours in my studio and not venturing out much during to the pandemic, I had the time to look toward art history and visual culture as reference points in developing a new project. Titled “The Periodic Table of Art Elements,” my intention was to breakdown and reconstruct an imagining of its various eras, trends, styles and individual artist works as neural networks, the manner by which information is decoded, interconnected, and made interdependent. My goal here was to identify and then fuse the random and disparate visual languages I discovered throughout art history and then remake them in my own visual, pixelated vocabulary. Much like the famed periodic table of chemical elements, my project, using a scientific approach, creates a logical display and expressive presentation of art history’s most iconic works. The result of which, is both alien and familiar as it engages audiences to see that ubiquitous history from a universal point-of-view.

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Booking Price: $2,001-$5,000