Type 7

Painting in Pixels

Painting in Pixels

How Ezequiel Pini made his mark on the digital art space, and where he thinks that space is going.

“6:05pm - the moment my workday ended and my personal time began. It was in those five minutes that I was already visualising my arrival at home, where I could continue with my art, my ideas, my projects.”

Poetically named Six N. Five, Ezequiel Pini might have never imagined in 2014 that his daily artistic pursuits could take place any earlier in the day. Back then, his CGI creations were an evening hobby, something to pass the time after putting in the hours at a day job. In the eight years since, Six N. Five has grown to become one of the biggest names in the digital art space, a medium that Type 7 has held a keen interest in since the earliest days of the magazine. For Ezequiel, the day job is long gone but the name sticks. It just refers to 6 o’clock in the morning now.

“My journey in the arts began in the last three years of high school, when I chose to study computer science. I was fascinated by everything related to programming and computers, but I also got involved in digital art contests then. After graduation, I knew I wanted to pursue a career in Art & Design, so I went on to study graphics at the University of Buenos Aires in 2003, which was the only discipline I felt combined my interest in computer science and creativity.

In my immediate family, no one had pursued a career in the arts, nor had anyone finished university. However, I could always sense that my grandmother, despite practicing it very little, had a great sensitivity for painting and music. She would occasionally paint a picture or play the piano, and I was fortunate enough to hear her perform.
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Throughout my life, I have always been an introvert, spending hours in my own world, analysing and thinking deeply. This trait is a constant in all of my artistic endeavours, and it is largely due to my personality. I have found that the best way to express myself is through visual language, interpreting everything in my own way through my images or creations.

In the history of art evolution, the emergence of the digital medium challenges traditional notions of art and its production. It also raises questions about the role of the artist, the ownership of art, and the relationship between the artwork and the viewer.”

Perhaps among the greatest authorities on the subject, Pini has been involved in the digital art space since it really picked up traction. Of course, the digital toolbox has been involved in art since at least the dawn of synthetic music and CGI has been a Hollywood mainstay for decades. It’s only in the last ten years however that advanced iterations of this technology have been accessible to independent creators, and this has been the driving force behind the boom.

“It’s a unique form of art that employs digital tools and techniques, much like traditional mediums might use paint or clay. The creative process is similar, with creators using software and hardware tools to express their ideas and vision of the world. I believe that it’s a valid and essential form of expression that is slowly gaining legitimacy. A few years ago, there was no connection for many between the concept of art and the digital toolbox. However, I believe that this has changed at a good pace and it’ll continue to grow into the future.

As digital natives continue to create and appreciate this medium, it will become ever more prominent and influential. It’ll be common to see it in museums, galleries and contexts that have yet to emerge, as well as experiences that combine both digital and physical realities.

Some consider this to be a latest phase in an evolution, building on the traditions of painting, sculpture, and other art forms. Others see it as a distinct category that requires new ways of thinking about art and its meaning. In conclusion, the evolution of digital art reflects broader societal changes in the way we use and interact with technology, and it continues to shape and influence the art world in exciting and innovative ways.”

Following his long career, the obvious question now for Pini is what to make of the recent advancements in AI. Technological shifts in art have a repetitive history of igniting debate, beginning with the practical concerns for art as a profession but quickly escalating into much more intangible concepts surrounding the role of artists in human society and whether or not that’s under threat.

“As with any new technology, medium, or tool, it often causes uncertainties and concerns at the outset."

This has been repeated throughout history when new inventions have emerged, such as calculators, computers, and photography. At the time, artists who made representational painting felt threatened by photography and the use of a machine that produced art. I have also experienced this myself when 3D technology was considered a threat to photographers. We all have managed to coexist.

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"In the history of art evolution, the emergence of the digital medium challenges traditional notions of art and its production."

AI is now mainstream, but there were artists already using artificial intelligence and data to generate new art over 10 years ago. Ultimately, these are simply tools that function as a means of expression, and as artists, we take them and specialise in the ones we like or feel comfortable with. We all have different inspirations and interests, and we all process them in our own way, working to optimise our own creative processes. Personally, I am working on creating my own AI model, where I can use my work from the past 10 years as a core, to help me optimise and enhance my creative process. This is why I like to have a more optimistic view and take these new technologies as tools to use to my advantage.

That said, I do believe that there should be some limitations imposed to address uncertainties and misuses of AI. There are already some regulations emerging, and I think this will make its use fairer for everyone in the future.”

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