CRITICAL MASS

An abundance of small dots swirl together, following orbits that create fluid formations. Points dissolve into mass, the artist manipulates the parameters of the code to affect a sense of circulation or flow. The end result appears natural, it suggests movement, a dance between two entities: light and dark, presence and absence. Yet its form emerges through artificial means, a pure act of formal experimentation, an interplay between density and layering.

‘Critical Mass’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

CRITICAL MASS

An abundance of small dots swirl together, following orbits that create fluid formations. Points dissolve into mass, the artist manipulates the parameters of the code to affect a sense of circulation or flow. The end result appears natural, it suggests movement, a dance between two entities: light and dark, presence and absence. Yet its form emerges through artificial means, a pure act of formal experimentation, an interplay between density and layering.

‘Critical Mass’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

UNIVERSAL TILT

This series of Op Art, abstract visualisations, addresses elements of time, motion, perception, optics and space. We never truly see the entire night sky, the endless stars, galaxies and nebulae that infinitely surround us, layers of them going deep, as far as the beginning of space and time. Our eyes are developed enough to allow for just a slice of the whole volume. The stars appear static, eternal, always there at the same, or at least a similar, position. But, they do move. While they take small steps on an arc in our perspective, they span monumental distances in real life at incredible speeds. Just like us here on Earth. Long exposure photography (star trails) and computational modelling reveal that movement in high-definition, making visible our imperceptible movement on earth’s axis. Our minds are quick to discover regular patterns, arcs and concentric circles, orbits across a vast panorama of light and darkness. Tracing our passage through time, these works simulate the feeling of stellar and planetary motion through perceptual play which creates virtual movement.

‘Universal Tilt’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

STREAMS OF EVERYTHING

How do you visualise the enormity of our universe? Galaxies such as our Milky Way, vast objects in themselves, are dwarfed by the magnitude of the universal structure. They appear as small dots on this immense scale, yet contain billions of star systems, and other celestial objects and phenomena. Trillions of these galaxies stream down cosmic highways, enveloped within endless voids, much like the neurons in our brains. The ‘tiny dot’ was Li Yuan-Chia’s pivotal visual invention; he considered his ‘Cosmic Point’ to be a ‘mark which conjured up infinite space, the beginning and end of all things’. This series visualises fragments, or abstract close-ups, of these instances of convergence and dispersion within the universal structure. The streams, composed of myriad ‘points’ that surge, ebb and flow, act as a metaphor for our own lives and relationships; our paths perpetually changing course as forces act upon us, we react, come together or drift apart.

‘Streams of Everything’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

STREAMS OF EVERYTHING

How do you visualise the enormity of our universe? Galaxies such as our Milky Way, vast objects in themselves, are dwarfed by the magnitude of the universal structure. They appear as small dots on this immense scale, yet contain billions of star systems, and other celestial objects and phenomena. Trillions of these galaxies stream down cosmic highways, enveloped within endless voids, much like the neurons in our brains. The ‘tiny dot’ was Li Yuan-Chia’s pivotal visual invention; he considered his ‘Cosmic Point’ to be a ‘mark which conjured up infinite space, the beginning and end of all things’. This series visualises fragments, or abstract close-ups, of these instances of convergence and dispersion within the universal structure. The streams, composed of myriad ‘points’ that surge, ebb and flow, act as a metaphor for our own lives and relationships; our paths perpetually changing course as forces act upon us, we react, come together or drift apart.

‘Streams of Everything’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

STREAMS OF EVERYTHING

How do you visualise the enormity of our universe? Galaxies such as our Milky Way, vast objects in themselves, are dwarfed by the magnitude of the universal structure. They appear as small dots on this immense scale, yet contain billions of star systems, and other celestial objects and phenomena. Trillions of these galaxies stream down cosmic highways, enveloped within endless voids, much like the neurons in our brains. The ‘tiny dot’ was Li Yuan-Chia’s pivotal visual invention; he considered his ‘Cosmic Point’ to be a ‘mark which conjured up infinite space, the beginning and end of all things’. This series visualises fragments, or abstract close-ups, of these instances of convergence and dispersion within the universal structure. The streams, composed of myriad ‘points’ that surge, ebb and flow, act as a metaphor for our own lives and relationships; our paths perpetually changing course as forces act upon us, we react, come together or drift apart.

‘Streams of Everything’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

STREAMS OF EVERYTHING

How do you visualise the enormity of our universe? Galaxies such as our Milky Way, vast objects in themselves, are dwarfed by the magnitude of the universal structure. They appear as small dots on this immense scale, yet contain billions of star systems, and other celestial objects and phenomena. Trillions of these galaxies stream down cosmic highways, enveloped within endless voids, much like the neurons in our brains. The ‘tiny dot’ was Li Yuan-Chia’s pivotal visual invention; he considered his ‘Cosmic Point’ to be a ‘mark which conjured up infinite space, the beginning and end of all things’. This series visualises fragments, or abstract close-ups, of these instances of convergence and dispersion within the universal structure. The streams, composed of myriad ‘points’ that surge, ebb and flow, act as a metaphor for our own lives and relationships; our paths perpetually changing course as forces act upon us, we react, come together or drift apart.

‘Streams of Everything’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

STREAMS OF EVERYTHING

How do you visualise the enormity of our universe? Galaxies such as our Milky Way, vast objects in themselves, are dwarfed by the magnitude of the universal structure. They appear as small dots on this immense scale, yet contain billions of star systems, and other celestial objects and phenomena. Trillions of these galaxies stream down cosmic highways, enveloped within endless voids, much like the neurons in our brains. The ‘tiny dot’ was Li Yuan-Chia’s pivotal visual invention; he considered his ‘Cosmic Point’ to be a ‘mark which conjured up infinite space, the beginning and end of all things’. This series visualises fragments, or abstract close-ups, of these instances of convergence and dispersion within the universal structure. The streams, composed of myriad ‘points’ that surge, ebb and flow, act as a metaphor for our own lives and relationships; our paths perpetually changing course as forces act upon us, we react, come together or drift apart.

‘Streams of Everything’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

STREAMS OF EVERYTHING

How do you visualise the enormity of our universe? Galaxies such as our Milky Way, vast objects in themselves, are dwarfed by the magnitude of the universal structure. They appear as small dots on this immense scale, yet contain billions of star systems, and other celestial objects and phenomena. Trillions of these galaxies stream down cosmic highways, enveloped within endless voids, much like the neurons in our brains. The ‘tiny dot’ was Li Yuan-Chia’s pivotal visual invention; he considered his ‘Cosmic Point’ to be a ‘mark which conjured up infinite space, the beginning and end of all things’. This series visualises fragments, or abstract close-ups, of these instances of convergence and dispersion within the universal structure. The streams, composed of myriad ‘points’ that surge, ebb and flow, act as a metaphor for our own lives and relationships; our paths perpetually changing course as forces act upon us, we react, come together or drift apart.

‘Streams of Everything’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.

SYMPHONY

This series of artworks is rooted in the visual language of musical notation; referencing the radical graphic scores of composers such as John Cage, Iannis Xenakis, Cornelius Cardew and Brian Eno. Hundreds of notes/points spring to life on the same vertical axis (time), creating an intricate multilayered soundscape of crescendos, shock waves, swells and echoes. Kandinsky wrote, “form itself, even if completely abstract … has its own inner sound”. These compositions employ point arrangements to reveal visual equivalents to musical elements, such as harmony, frequency, texture or rhythm, evoking a fictional score of monumental scale and scope.

‘Symphony’ is part of a larger body of work, begun in 2018, in which Tsolakis creates abstract forms that emerge by point arrangements. Built with code and ink, the intricate drawings feature millions of dots aligned according to elaborate mathematical formulas – mixed with a dose of chaos – and evoke abstract landscapes, celestial masses or forces, even music. Points become particles, rays of light, radial waves intersecting each other, notes of an exploding symphony, or a myriad of stars tilting across our sky.