Tyler Hobbs is an NFT pioneer within the Generative Art movement

Tyler Hobbs is a pioneer of the Generative Art movement, producing work using autonomous systems – specifically computer algorithms.

In June 2021, using the most complicated algorithm he had ever created, Hobbs created Fidenzaa series of 999 computer-generated images embossed as individual NFTs that examine the point where the worlds of digital and analogue – and chaos and order – collide.

The project is based on the concept of ‘flow field’: images that map the density and speed of a fluid over space and time. Hobbs gave his computer the “authority” to randomly select and apply layers of digital code to these images, changing elements such as color, scale and turbulence, and choosing the final look of the work. And because he programmed some pieces of code to use themselves less often than others, each work’s ultimate combination of traits can be ranked by rarity.

Fidenza quickly became one of the most sought-after NFT declines of 2021. One work alone rose in value from 0.58 ETH (then worth about $1,400) to 1,000 ETH (more than $3.3 million at the time) in just two months . More importantly, Hobbs secured his place as a leading figure of the digital art movement, as well as an artist capable of surviving the highs and lows of the NFT market relatively unscathed.

On February 28, Christie’s is offering the rare generative artwork Fidenza #724 as part of the 20th/21st Century: London Evening Sale. Ahead of the auction, Hobbs sat down to explain how the project came about, and where he thinks the future of art and technology lies.

Where did the idea come from? Fidenza comes from and what does the title refer to?

‘Many of the algorithmic and visual elements in Fidenza can be traced back through my work over the past five years. However, it was also a radical new experiment – designing an algorithm that fits 999 outputs was a massive increase from my previous largest, which only had 32.

‘The title Fidenza [the name of a town in northern Italy] was specifically chosen not to be significant. I wanted the viewer to interpret the work without preconceptions. I borrowed the strategy of using a city’s name from Franz Kline.’

What was involved in writing the algorithm for Fidenza?

“The algorithm itself is hand-coded text and numbers. It’s written in a programming language called JavaScript, which is extremely common, meaning it will be supported for at least several decades, if not longer.

“Although we have physical bodies, we spend a lot of time in digital worlds, and to explore this reality, art must span both” – Tyler Hobbs

“It is difficult to mark the start of Fidenza because it evolved from algorithms I’ve developed over the years. However, there was a period of about three and a half months where I focused intensely on it.

“I started with an experimentation and exploration phase, where I changed different elements to introduce new concepts and behaviors. I then focused on removing buggy areas and making weak outputs less likely. The final step was to adjust the probabilities to make the entire output varied and balanced. My goal was to make sure you could look through all 999 outputs and not get bored.’

Are the parallels to work by artists such as Piet Mondrian and Bridget Riley built into the code?

“I did not rely on any particular art historical references. However, I spend a lot of time studying the work of other artists – especially those with a systematic approach to their work, such as Mondrian, Riley, Agnes Martin and Kandinsky in his later period. They have been my greatest influences, and I often notice connections between their work and my own, even if I did not consciously introduce them.’

Can you explain how and why you sometimes create analogue counterparts to your digital works?

“There are many different ways to translate a digital work into the physical, and I decide which one to use based on what suits the art best. Sometimes I use a projector to create drawings by hand, or use laser cut stencils.

‘To Fidenza I made one painting on paper, which is based on output #163. I started by using a plotter – a simple, programmable robot that holds a pencil – to make a drawing of it, which I then painted over in gouache. It is difficult to get a robot to paint well: there is a lot of “touching” that is still extremely difficult to achieve.

“Seeing digital concepts in analogue form can make them more accessible and human. It also makes us think that even though we have physical bodies, we spend a lot of time in digital worlds, and to explore this reality, art must span both.’

Once Fidenza had been made, did you curate it in any way?

“There are several ways I can curate a project’s output, and each has interesting trade-offs. If the desired output set is small, I’ll usually curate it myself, usually filtering my favorites. With some other projects, I put the curation in the hands of the community. To FidenzaHowever, the 999 images were randomly generated without any curation whatsoever.’

Can a computer ever compete with human creativity?

“I don’t think we have a good definition of ‘creativity’ right now. Like any other form of artistic practice, the act of creation using artificial intelligence and other generative approaches has particular strengths and capabilities, as well as particular weaknesses and limitations.

“It is up to the artist and the viewer to decide what is meaningful and how best to relate to these new technologies – which will certainly dominate our lives for decades to come.”

What do you predict for the future of art and technology?

“I see code becoming more and more a standard tool for artists. It’s just far too powerful to ignore, and those who can use it effectively can do things others can’t. Nor does it have to be all-or-nothing; I think a mixed use of code and traditional practice will create the most interesting results.’