These textures are passed to the fragment shader, which discards pixels of each quad that are sampled in the black. Before the main thread gets started, I use an HTML canvas to create randomized, stroke-like, black and white textures which become a sort of alpha map for each quad. This allows me to draw many shapes. This geometry differs between different stroke styles, but for the most part are simple quads. I use instanced geometry to create every brush stroke, so it's the same geometry used over and over again, reducing draw calls. The other main element of Chimera is the graphics. So every visual feature of Chimera starts with a very general definition and cascades down to a very specific definition.
The information stored in each point is then passed to the shader, which renders a brush stroke. As the shapes progress down their respective paths, they spawn points. The objects then create many linear shapes to carry out those rules. Sometimes multiple objects are grouped together by an even more general object. One example of this is a flower, which is composed of a stem object and a bulb object. As the main thread of the script creates objects, the objects define a set of rules pertinent to their embodiment. A vase is an object, a sunflower is an object, a fruit is an object, a wall is an object. The "objects," as I refer to them, are more easily understood. These linear shapes are guided by the objects that spawn them.
Most of the flowers are composed of many linear shapes, where the thread starts at the base of the flower bulb and is sent shooting off in various directions and sine waves related to the flower they represent, eventually creating a petal. The vase, for example, is composed of many linear shapes that trace themselves around a parameterized cone. Most shapes start at some location and end at another, creating points as they go. Think of shapes as the string of a necklace, where the points are the beads. Shapes in Chimera are mostly just lines (with a few exceptions). When the point is created, each trait is sent to various buffers in a custom shader that is responsible for drawing the strokes. Each point holds the defining traits of a brush stroke. The points have several traits, like their position, color, and in some cases, velocity. Every edition has many points, usually upwards of one million. The most basic unit in Chimera is the point. Chimera simultaneously reaches into the past while exploiting the capabilities of the present and seeks to represent a unique moment in time, a generation of art in between digital and physical realities, encapsulating where we came from and where we are going. It is an old tradition in the very new medium of on-chain generative art, a movement that will have an enormous presence in the future. Traditionally viewed as a type of technical practice or meditation (the bottom of the “hierarchy of genres”), some examples of still life have gone on to be among the most important works in art history.Ĭhimera is a natural progression of still life. From ancient carvings through contemporary art, scenes of commonality, beauty, and metaphor have persisted.
Other subjects are timeless, popping in and out of multiple movements and genres throughout history. The potential subjects within said medium can grow in complexity as well, some fully dependent on the medium that holds them.
When a new medium comes into existence, the capabilities of both the artist and viewer increase in number. Most mediums are not discarded, but combined or extended to incorporate new technology or ideas. Spoken words evolved into written text, eventually becoming complex screenplays, computer code, and a world of hyperlinks. Pictograms and hieroglyphics turned into paintings, which eventually became moving images and photoreal graphics. New creative mediums almost always ingest those that came before. Chimera is a mutation, its genetics a merging of past and present.
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