Please or Register to create posts and topics.

Escape from Cryptopolis

Museum Link:

Source Link:

Date Minted: June 8, 2020

Artist Description: Cosmic Medusa´s Escape from Cryptopolis; mixed technique: 3D/digital paint; resolution: 8192 x 6224; digital signum painted with X-painter; there will be only this unique picture, one gif and one audiovisual shortfilm from this motive in total.

CohentheWriter’s Commentary:

El Geko’s Escape from Cryptopolis is a bit of a puzzle-box. Originally conceived and unleashed to the world as a triptych of sorts, the version of Escape we see is only one part, this one the single still-image, alongside a gif and a short video. The Gif definitely has more energy. The video is more technically awesome. But the still image Escape from Cryptopolis we’re looking at is by far the most interesting of the three. There’s a confrontation required of an audience when gazing on an immobile image. Movement is better for narrative, but it oftentimes eliminates the most minute aspects of artistry, the very same minute aspects of artistry that give this piece its kick. Escape from Cryptopolis is a beautiful work, a true mind-bender of shape and form and color, with the kind of texture so vivid you want to put your tongue to your monitor and lick it off. The amount of visual information is vast. The atmosphere is finely-tuned. It’s not un-terrifying. Having seen all three expressions of the Escape from Cryptopolis artwork, I’m no closer to unlocking its secrets. But I do feel like I’m closer to El Geko for having done so. The artist encodes all their secrets, their desires and tendencies, into this image right here. No flashing lights or frame-rates necessary. 

In the Gif version of Cryptopolis’ Artist Description, El Geko writes, “She is dangerous. She is a bounty hunter and she combs through space and time in search for prey. Cosmic Medusa´s escape from Cryptopolis was well planned and perfectly executed. Now, after passing the no-time zone, she is back on track ready for a new adventure.” This is the most vivid description of the Cosmic Medusa “story,” we are given; the title of the entire triptych being “Cosmic Medusa’s Escape from Cryptopolis.” And it’s this Cosmic Medusa who confronts us here, her giant Galactus-eyes glowing bright red, her metallic-liquid body, awash in shades of blue and black and reflected glints of gold, her spindly hair, brimming with blue electricity, extending out from her skull like a dozen polearms; her skin itself is a refraction of a many-starred universe unraveled around her. In the video, this universe is rendered in impressively high-quality. It’s quite stunning. And to see Cosmic Medusa in the middle of it, a cosmic mirror of sorts, is breathtaking. 

I am a man with almost 0 artistic ability. I am a man with somehow even less technological knowhow. Nevertheless, we are all in possession of certain markers of quality, and for me, the telltale sign of an artisan is a mastery of texture. I’m an avid fan of Frenetik Void’s work for the same reason, and all throughout El Geko’s work is an almost bored mastery over various textures, technical limitations be damned, artistic styles bent to the artist’s will. 3D art is clearly child’s play for El Geko, as are a dizzying number of animation styles, from the seemingly origami-inspired, to the abstract and papery, to the foggy and silhouetted. It’s more than just texture though. El Geko is able to capture perspective using their peerless technical skill. It’s not just the reflected surfaces in Cryptopolis which are impressive, for example, but how there is a world of reflected material in those surfaces, as if we were there in that floating galactic void alongside the Cosmic Medusa, and we were looking at her from straight-on, a whole universe of stars and quasars behind us. El Geko isn’t always interested in impressing us. There are enough lighthearted pieces in his oeuvre to convince me that he’s interested in consistently piquing our enjoyment over consistently piquing our awe. But it’s the seeming ease with which El Geko can conjure that awe that gives me pause, that alerts me to the level of talent displayed here. 

There are enough styles on display in El Geko’s Makersplace page to suggest a deeply curious mind, the kind of sensibility which cannot stay locked-in to a single style or niche. Rarely, for instance, does El Geko return to the sci-fi influenced cosmotopia of Escape on Cryptopolis. The artist is just as likely to be toying around with fractals, or metamorphosing women’s faces, as they are to be exploring the inner reaches of their mind via the outer reaches of spaces.

Thus, I don’t really think Escape from Cryptopolis needs to be much more than it is, which is a remarkable visual node in an oeuvre full of remarkable visual nodes. But with each new direction El Geko shows mastery over, the larger and more sprawling their overall mastery seems. Think of a botanic garden with a hundred different biomes. That is El Geko’s creative output. It doesn’t feel like a hodgepodge, but like a visitation. Like touching down for a taste of a hundred varied artistic languages. Each one beautifully-spoken. Each one, like Escape from Cryptopolis, only unfamiliar in theory. Down on the ground, so to speak, the assurance of El Geko’s hand is unmistakable; it is, at this point, an old friend. 

el-geko, Agnosis and naturalwarp.eth have reacted to this post.

Really grateful and deeply honored to read this review. Max Cohen hit the nail very well. He brilliantly pointed out all the important things related to the artwork and the weird messy visual grandfather behind it. As an Austrian with German as my main language, I would not have even come close to finding words for my work in such a clear, poetic, sharp and beautiful creative way to describe it. Authoring at the highest level is a very special creative gift, a discipline of the arts.

Yes, it's true, I'm not very good at repeating a subject or style over and over again. For me as an artist, this is a big disadvantage, because I find it difficult to commit to a certain style and thereby clearly recognize my work, but I can live with that. But there are a few styles like the General Cosmics style, the Cosmic Medusa Trilogy was the first proper high definition remake of this General Cosmics visual set from 2003 with cosmic elements and zero gravity feeling gliding through space. My other hemisphere also produces a recognizable style: spontaneous and intuitive action painting with animated brushes. This comes from my deep love for Amiga's Deluxe Paint graphic animation software and my early days as an artist and performer, spontaneous roto-painting and composing. Today's version of Dpaint is called TVP Animation Pro and I still love it and make onlineart live stream sessions using it in this new format since 2020.

This is a good opportunity to post some additional information about my background.

In addition to commercial work, I have always created visual art using the latest tools, visual styles and themes in a variety of techniques and explored different styles of music for visualization. These visual themes have been used in my live visual mixes on the main stages of music festivals around the world. The big ceremony was the live mix between these channels of my visual themes and live cameras with up to eight input channels for the live mix called "The Flight". As for pre-production, once a theme was created and produced in a format that could be used in my VJ sets and live visual performances, I was done with it and started creating something new, something different. While most of my visual artworks over the last millennium have been created with usage in mind, abstract beat supporting loops with uplifting positive and psychedelic anima. Since around 2001 I've been working on a wider range of art, including conceptual art and more dystopian themes, critical video edits and even political works inspired by David Dees or Klaus Staeck. There is the angry inner child unleashed under the pseudonym ZyberZerk. Now a computer graphics grandpa, I enjoy exploring all new techniques including animated style transfer, deepfake and AI generated bits and pieces alongside working on a viable visuals catalog “XTRAX 1988-2020”.

Big thanks to Max Cohen for his beautiful, incredibly detailed reviews here on the MOCA forums.

CohentheWriter, Agnosis and naturalwarp.eth have reacted to this post.

Appreciate you, fam! Would love to check-out a VJ set of yours if you have any recordings kicking around!

naturalwarp.eth has reacted to this post.

OK this just made me realize I must dig more into the work of El-Geko ( even tho we already collaborated on a 360 NFT on KnownOrigin which was used by V-RACE as paint-job for a virtual and operable car in Somnium Space VR )

CohentheWriter has reacted to this post.
You are not allowed to do this. Please login and connect your wallet to your account.