Title: Orbic Field v75x (MP4 1080P video: duration 1:31) with 2 still images.
with a short note on the aspect of the work contributors:
Video © 2021 Victor Acevedo Soundtrack © 2021 Chris Holland (Igor Amokian)

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Orbic Field v75x was conceptualized as a 'prequel' to my previous EVM work entitled Orbital Remix. It utilized much of the same geometry and imagery but in tandem with a more drone-like or ambient soundtrack. From 'orbital', came the notion of an orb, a sphere or a spheric experience with a metaphysical vibe. The video is built on the abstract graphical interplay of spheric entities in a structural field or environment; this suggested the title of Orbic Field.

 

As the video unfolds across 1 minute, 31 seconds, some visual sections move in tight synch with the underlying sonic events, while other sections are looser, with a more audio figure-ground approach to the visuals in relationship to the sound environment.

 

The soundtrack was composed by Chris Holland, his artist name is Igor Amokian. He is a master circuit bender.

 

2 Still images from the video Orbic Field v75x, both are © 2022 Victor Acevedo 

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Short Biography

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Victor Acevedo is an artist best known for his digital work involving printmaking and video. His current focus is working with video and producing (electronic) visual music works. His hybrid imagery tends to combine figuration with geometrical abstraction and sometimes it presents as pure abstraction ( https://en.wikipedia.org/wiki/Victor_Acevedo )

 

Acevedo is considered a desktop computer art pioneer as he was an early adopter of pre Windows personal computer (IBM PC) software to create fine art in the early 1980s. He has shown his work in over 133 group and solo art exhibitions in the U.S. and Internationally since 1982. He is currently in production of a self-published career survey 400-page monograph with four contributing authors, entitled Acevedo in Context.

 

The arc of Acevedo's career is noteworthy in that it begins in his student phase in 1977 with traditional (analog) media painting and drawing and then shifts, starting in 1983 over a 4-year period to exclusively digital media. To date, the three main periods of Victor Acevedo's oeuvre could be described as the following: 1977-1987 Analog Art: painting, drawing & film; 1983 to 2007: Digital Art: archival ink jet and photo prints; 2007 to present: (Electronic) Visual Music: digital video and digital prints. In this 3rd phase Acevedo has begun minting NFTs of some of his work.

 

Following the natural evolution of his art practice, in 2007 Acevedo shifted his primary attention to producing visual music works. Exploring the implications of synesthesia and cymatics as well as the use of computer animated geometry based on Buckminster Fuller's Synergetics, his recent work investigates the intersection of electronic music and audio synthesis as in drone works or glitch, harmonic noise, and dynamic geometrical structure. Later he began integrating real-time video workflows into his audio-visual (AV) studio work. Acevedo initially positioned himself inside the genre called Visual Music.

 

In 2013 Acevedo coined the term electronic visual music. Its acronym is EVM. It is a play on EDM (Electronic Dance Music) and an update of the established genre called Visual Music. Visual Music emerged from an analog media {film-based) practice whereas contemporary visual music is now primarily digital or more generally, electronic.

 

He first attached the term EVM to a Drum and Bass monthly  club  night  that  he was  planning but the events were put on hold. The first time he used the term publicly was for an AV (audio visual) performance event at Los Angeles Center for Digital Art (LACDA) in May 2019. It was part of Acevedo's LACDA digital art retrospective which presented selections of his work from the years 1985 through 2019.

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Artist's Statement

Victor Acevedo - Artist Statement, March 2022

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My recent videos are influenced by electronic sounds and music as well as abstract jazz-based forms along with R. Buckminster Fuller's Synergetics and 'classical 'Sacred Geometry. I also owe a conceptual debt to the "moving painting "video work of Bill Viola. I think of my videos as existing in the lexicon nexus between experimental film and visual music. At the heart of my video practice is a core sensibility of being a fine art painter. I think you can see that in the kinetic layering of graphical textures. Moreover, bringing the element of motion to 'painting', is essential to the form.

The look and sensibility of my work derives from an on-going commitment to practice visual perception filtered or sensed through a reference to polyhedral structure. The real-time apprehension of the topological coordinates of interconnected densities in the field [of view] facilitates an expressive rendering of the natural energetic resonance present even in the most prosaic of scenes. My goal is to provide visual artifacts such that a viewer, end-user, or participant may augment the conceptions and perceptions they bring with them.

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