Against the sun-streaked, palm-silhouetted skies of Miami, Florida, generated software murals create a layer of intricate virtual architecture atop a flat canvas of Frank Gehry’s hall for the New World Symphony. LA-based Casey Reas (known to many as co-creator of Processing) worked with Tal Rosner to product shifting generative murals in what I think is a triumph of digital expressionism.

As the architecture itself is collapsed into cubist/abstract fractions of time, the building itself echoes ever-shifting structures, a silent but vibrant commentary on the urban landscape.

The images themselves are stationary in the sample, but Casey shares with us some video that captures those stills in the 365-composition montage. More images and statement by the artist below.

Chronograph [Video] [Update: fixed; now public!]

I love that the word “choreography” comes up, as it seems fitting, a kind of choreography of design scored into the rectangular image.

Created for the building’s 7,000-square-foot exterior projection wall, this large-scale installation takes its inspiration directly from the new building and the surrounding historical art deco neighborhood of Miami Beach. Based on thousands of photographs taken over the course of the construction of the new building and images of local architecture, the ever-changing mural shifts between the recognizable and the abstract, animating and creating new forms on the building’s surface.

Using the same visual source material, the mural is punctuated by hourly videographic events marking the top of each hour, achieved by altering aspects of the work’s choreography – detail, pacing, palette, rhythm, geometry, and pattern. Custom-written software creates not only create hourly cycles, but generate an ever-changing visual experience over time for new and repeat visitors.

REAS > Works > Chronograph

  • The vimeo link is private. 🙁

  • Beautiful hall, beautiful wall!

    (What I could do with both/either! Unfortunately, access in the art world is severely limited. It's not about talent, it about connection. Just sayin'. 

    My humble video will, however, be shown on the Wynwood Art Walk at Inkub8 this Saturday, but that is nothing compared to this. Why do I even try?

    . . . and this lovely comment is brought to you by the version of yourself 30 years down the road from now!  yipee!) 

  • Peter Kirn

    The video's fixed!

    But @SkyRon – I'm not sure I understand. Sure, it's great to have that canvas, but I don't think quality of work has to be about scale. (Part of what makes this look good is high-quality documentation of the site, too, which is possible elsewhere.)

  • Fair enough . . . I guess I'm thinking about 'scale' as a metaphor for, I don't know, visibility? press/marketing/? fame? mortality? (sorry, holiday depression coming early).

    I quess I'm saying that 'quality' remains subjective, but those who are lucky or connected (or perhaps indeed talented) enough to be shown on this big screen, at this highly visible ('too big to fail' in the art world?) venue, are few. And the path to achieve this can indeed involve 'quality' and good documentation, but I also think it comes down to who you know . . . (sorry, holiday cynicism!)

    • peterkirn

      Keep the faith. As a writer, I know I'm interested in small works. In this case, I just liked Casey's work, and I'm blessed to get to use the tool he helped make.

  • brellelabraille


  • paul

    @SkyRon I'm with you here.  It sometimes seems as though the difference between the big visualists and the rest is access to a handful of 10k-lumen Christies and to a big flat public wall.  Wouldn't it be great if the New World Symphony had a process where hundreds of artists could get their 15 minutes of fame, instead of looping through 365 beautifully "processed" photos of the Gehry itself.  It all seems, well, incestuous.  But gorgeous, nonetheless.