| David Em | |
|---|---|
David Em, Transjovian Pipeline, 1979, Digital Image |
|
| Born | 1952 Los Angeles, California |
| Nationality | American |
| Field | Digital Art |
| Training | Pennsylvania Academy of the Fine Arts. American Film Institute. |
David Em (born 1952) is an American computer artist.
Contents |
David Em is one of the first artists to make art with pixels.[1] He was born in Los Angeles and grew up in South America. He studied painting at the Pennsylvania Academy of the Fine Arts and film directing at the American Film Institute.
Em created digital paintings at the Xerox Palo Alto Research Center (Xerox PARC) in 1975 with SuperPaint, "the first complete digital paint system".[1] In 1976, he made an articulated 3D digital insect at Information International, Inc. (III) that could walk, jump, and fly, the first 3D character created by a fine artist.[2] With his 1977 art work Aku, Em became the first artist to produce a navigable virtual world at NASA’s Jet Propulsion Laboratory (JPL), where he was Artist in Residence from 1977 to 1984.[3] He also created digital art at the California Institute of Technology (1985 – 1988), and Apple Computer (1991).[4] Em has worked independently since the early nineties.
|
David Em, QED, 1998, Digital Image. |
Em's art is difficult to categorize. His work spans multiple media, including all-electronic virtual worlds, filmmaking, photography, and printmaking. He has also worked with live performance and theater. [5]Most of his work exists outside of the mainstream art world.
Stylistically, Em's art has connections to Surrealism, abstract painting, and experimental film. There are also often landscape and architectural elements. Some pieces feature geometric components, while others are organic in nature.
He says he "makes pictures with electronic light” and "sculpts with memory instead of space.”[6] He also "evolves images so that they grow into and out of each other” [7]
Some of his early works done at the Jet Propulsion Laboratory in the 1970s have deep-space related themes. In the 1980s he incorporated light effects reminiscent of the French Impressionists,[8] and in the 1990s he introduced otherworldly lifeforms into his work. In the early Twenty-First century, an apocalyptic element appears in his imagery.
His art has been exhibited at the Centre Pompidou, the Musee d’Art Moderne de la Ville de Paris, the Seibu Museum in Tokyo, the Carpenter Center for the Visual Arts at Harvard, and the Museum of Contemporary Art, Los Angeles. His work has appeared in popular media, including the covers of Herbie Hancock's Future Shock, Sound-System, and Perfect Machine albums and an electronic version of William Gibson’s Neuromancer.