The largest projected graffiti in the country was the theme of this year's 8th Zsolnay Festival of Light in the centre of Pécs. Fork's idea was to create a modern creation story, where there is a central figure who can be seen as both real and imaginary.
The 8th Zsolnay Festival of Lights this year's theme was the 50th birthday of the Rubik's cube and Artificial Intelligence, which was given as a starting point for the project. In his artwork, he hid about 50 Fork inscriptions, small cubes and the Rubik's cube colour scheme mostly in the "carpet" section as a feedback to one of the themes. The main and more visible part and direction of impact was the artificial intelligence used to project the half street facade.
The plans show the structure and continuity of the image, but in reality it was so monumental that I don't know if the flowing crowd noticed. 😀 I wanted to depict this in my own way with graffiti elements in an easily digestible and dynamic way with the styles, and to counterbalance the figurative elements I incorporated simpler visual grabs. As I am known more as a figurative graffiti artist, I took advantage of this freedom in my own language to create a moving and detailed image. – says Fork
Fork was to create a modern creation story with a central figure who could be seen as both real and imagined. He was intended to be the first point of reference for people on the highest facade. Whether he is the creator or a created being is a matter of point of view, his complexity is reminiscent of the basis of AI technology, but he was one who filtered the diversity of humanity at first glance. The protagonist was positioned in the middle of the street, and as we moved towards the 2 edges of the design, the lines of the drawings were simplified and the main connecting motif was the red molecule/dns mesh. Fork's main signature feature became a few years ago the merging of the real and digital worlds in both his paintings and graffiti, so he used this toolkit to try to illustrate a chaos similar to the creation of a universe created with typographies and graffiti, which at the same time evokes an image created by a glitchy AI.
It was a very exciting programme in the evenings to mingle with the crowd and listen to who was wondering what they were wondering about, what they were associating with, and everything from Picasso to superhero battles. 😀 - says Fork
The work illustrated Fork's back-and-forth between the analogue and digital worlds by projecting an analogue image, which had the effect of a digitally drawn yet painted mural. It also reflects the workings of the AI and serves as a self-identical story of creation as described above.
Contributors
To create the image, Fork had a mentor, Benze, who helped him to understand the projection angles and the technique itself, so that he would not unnecessarily design something that was not feasible. The Zsolnay Festival of Light team organised the entire technical background and also took care of Fork's hospitality. The projection was done by the Night Projection team, who perfectly reproduced what Fork had in mind. The project was supported by the NKA.
Planning
Fork was asked in the spring, so he had time to think about the visual appearance of the image. The actual work took about 2 weeks in total, which required a lot of concentration for him, after 1-2 days of painting or short deadline graphic design, it was strange for him, he had to change to a very different rhythm but of course he didn't mind not having to rush. 😀 During the design process, he rethought it a few times, sketched a B-C plan but in the end he found this version the most interesting and spectacular for several reasons.
He drew the bases for the light carpet on a tablet, then digitally coloured and prepared it for the projection technical company according to the parameters given. The light carpet was brought to life on the street surface using 6 analogue industrial projectors, and another 4 projectors were used to shoot the street frontage, creating a 3-building "mural". The projected foils were 16 x 16cm in the machines so they had to work on a very small surface area, which in reality turned into lines of several meters during the projection.
The façade is a mixed media piece, using a few digital sketches and paintings to create a collage for the figurative parts. The paintings used are from the Zsolnay Quarter Street Up exhibition, Fork wanted to show feedback so that the audience could also see the exhibition as a daytime programme. Several people sent photos of the paintings to Fork afterwards when they were put together and many of them, as he suspected, felt very good that such details were noticed and appreciated by others.
The total projected surface area was about 1000 nm, so they managed to create the largest projected graffiti in the country in the centre of Pécs. In hindsight, I have to take my hat off to them for having done such a beautiful job of projecting such an intricate design.
📸 Street photos: Viktória Illés-Szalay
Drone images: Zsolnay Festival of Lights
The way of light
Imre Fork: NEO_GEN3.SYS
NEOGENESIS / Rebirth / Rebuilding
The rebirth from analogue to digital is not only a technological shift, but also a profound philosophical and cultural transformation that opens up new perspectives for human creativity and art. New art forms, the democratisation of culture and nostalgia, as well as new challenges, are pushing us to constantly adapt and learn.
The introduction of digital technology has led to the emergence of new art forms. Digital painting, 3D modelling, animation and virtual reality are all areas that have taken inspiration from analogue techniques but have been enriched by new methods and tools. The combination of analogue and digital techniques has opened up new horizons for artists, allowing them to create previously unimaginable works.
As one of the most powerful forms of visual expression, graffiti has always played an important role in shaping urban environments. Originally a means of rebellion and a search for identity, it has evolved over the years to become one of the most widespread ways of adding colour to cities. Abandoned, grey walls and buildings are transformed into vibrant, dynamic works of art that not only add aesthetic value but also enrich community life.
The rise of digital technology has allowed traditional graffiti styles to be reinterpreted in a modern form, with new tools and techniques. Digital recreation not only enriches artistic expression, but also allows artworks to reach a wider audience. The notion of recreation is no longer just about images painted on walls, but also about works that come to life in virtual spaces, creating new opportunities for artistic interaction and audience engagement.
Light painting, an innovative form of graffiti, combines light and movement to create stunning visual experiences. This technique allows works of art to decorate urban spaces temporarily or permanently, providing a dynamic and ever-changing visual experience for city dwellers and visitors.
Combining the art of graffiti with modern technologies opens up new perspectives for the colour and artistic value of urban space. The digital recreation of analogue painting and light painting offers the possibility to revitalise cities, making them more vibrant, dynamic and attractive to all. The creative power of the human mind combined with digital technology is creating new possibilities for the relationship between art and the urban environment, inspiring and enriching both artists and audiences.
