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I listen to a good deal of ambient music. In it, as in all art, I yearn to find that which speaks to the deepest motion of existence, that which speaks of travel. Travel on a human level or of the vast collections of animated particles of the universe, on a geological, galactic, or atomic scale. If the motion speaks of human travel, it may be physical, it may be emotional, it may be mental, it may be psycho-spiritual.

Powerful art encourages us to travel. It becomes our vehicle, allowing us to go places we might not otherwise have been. Some great music recalls travel through autumn forests. Through music we find journeys and destinations, we combat stagnation, we experience anew.

I hope my visual music will allow you to experience sensations you have forgotten.

Between the Past and Future

I work most productively and excitedly atop complicated interconnected systems built to manage electron vibrations. I attempt to bring into the digital elements of that physical realm we generally call home. I work with sets of algorithms designed to make manageable the manipulation and distortion of arrays of integer values that attempt to represent the visual data fed to our brain from a scene.

I also use cubic splines in semi-predetermined mathematical patterns to generate imagery, aiming for glimpses of repetition and reflection that parallel the progressions of consciousness through time in this universe.

Data, transitions, progressions: we attempt to form the new into preconceived notions. The current state of our pattern recognition has been a long time coming, and we are in the midst of the largest translation of our arena of thought in a thousand years. We reapply our understanding, and eventually come to a revised comprehension of our newly iterated Self. Dance with your truly novel inputs, and watch how you see.

It's A Long Story

I grew up amongst the autumn leaves of the woods of Westchester, New York, generally content to keep mostly to myself. I was just socially acceptable enough to avoid getting kicked out of school, and more than happy to watch the trees and wind from the swings. I was blessed with a loving family, a playful brother, and a house out in the woods, though I didn't realize it at the time.

I found early on that I was more interested in math than other kids, and was lucky enough to have computers to play around with at home long before they became a responsibility. I put myself towards the creation of vast worlds, be they from tinkertoys, legos, or pencil and paper. I drew up large floor plans, and sometimes put to work on the design of small towns.

But my journey into the world of art began in earnest in 1997, when I moved to the silicon valley in California at the age of 10. I quickly took a class on Photoshop (version 4.0), and found that soon I was outpacing my teacher in the program. I moved on to create a number of sadly primitive web pages, and later on began tracking the early 3D digital art community on deviantArt.com.

I took some 3D modeling classes and began to work in that field, doing some primitive work inspired by the group that would later form depthCORE. But I drifted away from that field, and later hit my stride working in digital video. I joined the Digital Clubhouse Network, and spent much of my high school years practicing and teaching the art of digital video editing, applying it towards creating videos of war veterans' and community leaders' stories.

In the summer of 2003 I picked up a digital camera for the first time, and quickly focused my attention to that field. I found inspiration in nature, and the art of digital photography allowed me to easily frame what I saw and bring it into the digital realm that I had become so at home in. I found inspiration in the hills around me, and it was at this time that I stumbled upon the works of the great sage, Andy Goldsworthy.

Soon enough, I found myself among the ranks of MIT, studying math and computer science, but I brought my camera with me. My photography began to shift towards textures, reflections and refractions in architecture; experiences that exemplified to my eye the underlying structure of our universe.

It was here that I met my first year mentor and the multi-talented artist extraordinaire, Graham Ramsay, who introduced me to alternative photographic printing processes, spearheaded by Gum Bichromate printing.

In the summer of 2007, I took a class at UC Berkeley with the aim of broadening my artistic horizons, and became enthralled with the fields of sculpture and line drawing. Inspired heavily by Tara Donovan and Bridget Riley, I refocused my extensive digital toolkit towards the style of digital manipulation I am continuing to explore today.

At that time, I began my photography of sculptural art, through collaborations with a collector of indian spiritual artifacts and a contemporary installation artist. I have continued this line of photography since.

As of fall 2007, I am principally continuing my work with digitally manipulated imagery, having gained the ability to instantiate the work in the physical world. I am also broadening my understanding of alternative photographic processes, working with Van Dyke and Cyanotype printing, and of course continuing to print with Gum Bichromate. I am looking forward to gallery showings in the San Francisco Bay, Boston, and Houston areas.

If you would like more information about Greg Perkins, or are a sculptor looking for photographs of your work, or would like to display his work at your location, please email him at gregoryperkins dot com.