Kaptein’s sculpture probes constructions of the temporal, the physical, and the metaphysical – employing disruption to question established systems. Through a refined manipulation of form, works forge an equilibrium between opposing conditions: movement and stillness, matter and void, the finite and the infinite. The body – referenced through both figuration and process – is positioned as a permeable site of ongoing remix. The exploration of these energetic and ontological tensions evokes states of transition, rupture, and loops – destabilizing permanence and linearity.
By calling attention to the precariousness of the concrete, and gesturing to parallel possibilities, Kaptein’s skilfully rendered works prompt the viewer to question and explore conceptions of place, space, and temporalities.
Glitch art is a type of art that is created by deliberately introducing errors or “glitches” into digital images or videos. Glitch art can be made with software, hardware, or simply by manipulating digital data. Glitch art often explores the relationship between technology and society. It can comment on mass surveillance, corporate power, and the commodification of culture.
Glitch art can also be simply aesthetic or simply fun. Whatever the purpose, glitch art is a way to create something new and unexpected from digital media.
History of Glitch Art
Glitch art has its roots in the early days of computing when programmers deliberately introduced errors or “bugs” into their code to see what would happen. These glitches would often produce unexpected and exciting results, which the programmers share with their colleagues. Glitch art began to take shape in the late 1990s and early 2000s with the advent of digital editing software such as Adobe Photoshop and Apple’s Final Cut Pro. These tools made it possible for anyone with a computer to create glitch art. The genre began to gain popularity in underground art and music scenes.
In recent years, glitch art has entered the mainstream. Commercial brands are now using glitch art to create eye-catching and attention-grabbing visuals. The genre is continuing to grow in popularity.
Glitch Art Methods include:
Databending: the process of manipulating a media file of a certain format, using software designed to edit files of another format. Distortions in the medium typically occur as a result. [more]
Pixel Sorting: the process of isolating a horizontal or vertical line of pixels in an image and sorting their positions based on criteria such as luminosity, hue, or saturation. [more]
Datamoshing: a technique of damaging video clips to create a glitch effect wherein frames that should change don’t. It’s most noticeable between cuts and across motion. [more]
Data Bending example:
Pixel Sorting example:
Famous Glitch Artists
Famous glitch artists include Sabato Visconti, known for his “datamoshing” technique, which involves manipulating digital video data to create Glitch Art.
With Moshup you can do live datamoshing on your iPhone or iPad. Capture a short clip and then film something different. The first recording will stick to the second recording and will be transformed by its motion. You can create some interesting mapping effects. The app was mainly used on the viral TikTok datamoshing videos over the last two years.
You can also repeat Frames in order or randomly.
Save the result as an image or video. While data moshing you can now fade back to a clean camera input. It’s now also possible to watch a preview to decide if you want to save or continue with your video recording. Get MoshUp
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’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.
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.