I’ve creating as long as I can remember. I started getting heavily into playing guitar, photography, and digital art in high school. Then I had a student teacher change my life—he asked me if I could design his album art. From then on I started combining my talents and passions. Still in high school, I began learning how to do freelance design through my Instagram. I went to Oregon State University for a year, but after being paid to design all summer, I couldn’t bring myself to keep going after the first week back. I knew I was already ready, and just needed to put in the hustle. 
I pride myself on my attention to detail and efficiency. I am constantly challenging myself to make each piece stronger than the last, which has driven my skill set farther than I ever could have imagined. I often take a more collaborative approach, keeping the client in the loop every step of the way. With this, I am able to take the client’s vision above and beyond to create something eye catching and inspiring. I am proud to have worked with clients from across the globe including Disney, Adobe, Warner Music Group, Live Nation, Wieden + Kennedy, Sony Music, and many more. 




Miles Johnston Glitch Art

Miles Johnston’s graphite drawings are gorgeous examples of hand-drawn glitch effects.

Miles Johnston works primarily in pencil drawing. His surreal art explores psychological transformation in portraits and figurative images.
Captivating. Mindbending. Recursive. Face melting. Gorgeous.
Johnston’s art is our psyche staring back from the void. Beyond the threshold of strange changes; he illustrates not a calculus infinite worlds, but the infinite selves it is possible to become.
Transformations Series
Deform. Divide. Attract. Recur.
Each picture below is a story of transformation the subject is undergoing.

Via: https://surrealismtoday.com/miles-johnston/

Miles Johnston Artist Statement

I was born in the UK in 1993. I spent the first few years of my early childhood living in Brunei, Borneo, something that I am sure had a major effect on me. The totally different environment gave me the intuition early on that there is no true ‘normal’. In hindsight I have always been interested in anything that helps to transform my perception of the mundane. From mathematics, physics, philosophy, art, I always wanted to see the world around me as if for the first time. I have always felt a sense of the sublime, terrifying, awe inspiring strangeness of being.

The rest of my school years were in Hampshire, England. After getting involved in art forums as a young teenager and participating and learning for 5 years, I moved to Sweden to study at the Swedish Academy of Realist Art at the age of 18. Now I work part-time as an instructor at the same school whilst working on developing my own body of work. Over the past couple of years my work has found an audience online and started to be exhibited internationally, culminating in my first solo show in New York at Last Rites Gallery in 2018.

I work primarily in graphite and oils, using the human form as a vehicle to attempt to process the intensity and profound strangeness of the collective human experience. The distortions and transformations my subjects undergo serve to represent the experience of our internal state during crucial moments in our lives. Instead of focusing on literal representations of the world, I depict the surreal and abstract qualities of our subjectivity with the goal of creating works with a deep emotional resonance.

I have a strong sense that art makes the world a better place, and I am giving all I can to be of service in this way. My work means whatever it means to you.

Via: https://surrealismtoday.com/miles-johnston/

Prints: inprnt.com/gallery/miles.j.johnston


Categorized as Drawing

Amazing Glitch Artists (2019)

1. jrdsctt

Jarid is a digital artist/graphic designer/photographer based and working out of Minneapolis, MN.

jrdsctt on Prints


2. Sabato Visconti


3. Peder Norrby


4. Mathieu St-Pierre

Mathieu St-Pierre

5. John Karborn


6. Phillip Stearns


7. Virtual Plaza

Virtual Plaza Prints

What is Glitch Art?

Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. Glitches appear in visual art such as the film A Colour Box (1935) by Len Lye, the video sculpture TV Magnet (1965) by Nam June Paik and more contemporary work such as Panasonic TH-42PWD8UK Plasma Screen Burn (2007) by Cory Arcangel.[1]

In a technical sense, a glitch is the unexpected result of a malfunction, especially occurring in software, video games, images, videos, audio, and other digital artefacts. Early examples of glitches used in media art include Digital TV Dinner (1978) created by Jamie Fenton and Raul Zaritsky, with glitch audio done by Dick Ainsworth. This video was made by manipulating the Bally video game console and recording the results on videotape.[2]

The term glitch came to be associated with music in the mid 90s to describe a genre of experimental/noise/electronica (see glitch music). Shortly after, as VJs and other visual artist began to embrace the glitch as an aesthetic of the digital age, glitch art came to refer to a whole assembly of visual arts.[3]

What is called “glitch art” typically means visual glitches, either in a still or moving image. It is made by either “capturing” an image of a glitch as it randomly happens, or more often by artists/designers manipulating their digital files, software or hardware to produce these “errors.” Artists have posted a variety of tutorials online explaining how to make glitch art.[8][9] There are many approaches to making these glitches happen on demand, ranging from physical changes to the hardware to direct alternations of the digital files themselves. Artist Michael Betancourt identified five areas of manipulation that are used to create “glitchart.”[10] Betancourt notes that “glitch art” is defined by a broad range of technical approaches that can be identified with changes made to the digital file, its generative display, or the technologies used to show it (such as a video screen). He includes within this range changes made to analog technologies such as television (in video art) or the physical film strip in motion pictures:


Glitches are the frustrating byproduct of technology gone awry. Many artists and programmers, however, have embraced these crisis moments and discovered beauty in the glitch. By hacking familiar systems, they intentionally cause glitches, and manipulate them to create art. Enjoying the aesthetics of technological mistakes defies the notion that technology and entertainment has to be seamless.