The ARTFUL Journey of Purchasing art…. three important tips:

1. Pause and Connect.

Most of us know there are some things you cannot put into words—feelings you have, heights and depths you cannot articulate, and the reasons why you connect with one art piece over another. Many of my clients have shared that when they pause and connect with an art piece, in many ways it is like falling in love. There is often a magical feeling and knowing. Just like love. This is why it is important for an art consultant to pause and connect personally with their client. Choose an art consultant who asks you questions and wants to know more about you and your tastes before they introduce you to the art pieces. It’s a journey. Don’t go on the journey with someone who doesn’t pause and connect with you. Don’t go on the journey with someone who doesn’t understand the connection that is made with just the right art piece. It doesn’t always have to be talked about; it is felt. It is love.

2. Vast and Valuable.

The art world is vast; art is valuable. Work with an art professional who knows the current market values of the art. Ask about provenance to make sure you have the correct documentation on the pieces you are purchasing. Make sure there is no lien on the art and that it has a free title. Always check out the condition of the piece to ensure the art work is not devalued by any damage. This may seem like common sense, but when you fall in love with a piece, you don’t want to over-look value. You get it. Pause, connect and love the art piece — then, get the facts!

3. High Stakes.

Today art is considered an alternative investment. Do your homework. Check out the art consultant/professional’s background. What’s the history and reputation of the Gallery? Are they involved with any lawsuits? Is the dealer up to date on current markets and trends? Plain and simple — do your homework before your begin the journey. Once you feel confident that you have chosen the right person, begin to create the collection of your dreams. Fall in love with your art and the artful journey of purchasing the perfect pieces for you.

Claudio Castillo

In my work, the worlds of painting, animation, and computer programming conspire together in a subtly subversive take on software art. The watercolor image has traditionally existed as a unique original, along with the possibilities for its reproduction. Software art has often focused on generating complex images that mirror the endless variablesmade possible by computer coding.

I have found a way to marry these opposing practices by choosing to embed software in dreamlike, poetic watercolor landscapes, creating “living paintings” whose images endlessly mutate in a nonlinear progression in which no single image will ever be precisely repeated — atleast, not for hundreds of thousands of years. I began with digitized versions of my watercolors; split the images into four layers, and then animated each one independently in multiple ways. This created the possibility of thousandsof individual versionsof the picture within the composition of each layer. I collaborated with a programmer to create a random number-generating program that would drive the playback of the layers in a sequence whose chance of repetition was 1 in 68,797,071,360,000. A viewer would have to wait 436,308.16 years if they hoped to see any particular composition duplicated.

I have now completed work on six-layer paintings, exponentially increasing the chance of repetition to a time span of once in 8 trillion years. I have also integrated natural cycles into these works, such as the moon and tides, which are represented figuratively in the paintings’ imagery, while their animated movement is controlled by real-world, real-time cycles, whose algorithms are programmed into the work. I have also just completed the incorporation of high resolution video portraits into my animated watercolors, and I am now working with internet connectivity allowing for the imagery to reflect real-time weather and stock market conditions.

I want my iconography to resonate as organic matter as well as abstract forms: Water, flowers, rain, sun, vines, grass, roots, sky, rocks are rendered schematically and move subtly toward abstraction. The introduction of multiplicity, chance, and cyclicity into a single image, and its preprogrammed control, opens the work up to a world of puzzling juxtapositions: impermanence / ceaselessness, fine art / technology, original image / duplication.