February 2016

Artist Statement February 2016

Painting has to operate on multiple layers of consciousness. What your eye sees your mind understands both consciously and unconsciously. Making art is always both a formal and intuitive process. The underpinnings are experience in the medium, uncertainty of how the painting will progress and what initial parameters, if any, I’ve set myself and what is going on in my life: what I’m thinking, experiencing, remembering, reacting to and feeling.

Darcy Gerbarg  



Artist Statement SIGGRAPH 1987

I do all my imaging on a computer graphics system that has software specifically developed to meet my needs. This software allows me to works in ways that are not possible in pigmented physical mediums. Still the images as they exist on the CRT are not in themselves satisfying as art pieces, so I further enhance them by translating them into physical mediums. The two mediums I currently prefer are printmaking and painting. Both involve experimentation with images taken from the computer through the film recorder and use film as a transfer medium. Creating the actual physical art works is a laborious, time intensive process. There are as many technical problems to solve in the translation process as there are on the computer end.

Darcy Gerbarg 1987

September 1985

Artist Statement September 1985

Computers are taking their place among the repertoire of artist’s tools. Artists who take up the challenge of this new technology must find their own ways to make use of it.

Darcy Gerbarg


March 1985

Artist Statement March 1985

Seven years ago artists were saying that we’d be able to do many “new things with computers that would enable us to make great new art works.” Seven years later the struggle goes on. During this time I have been able to make many works of art but the expectation remains that there is much more to be achieved. Perhaps artists have felt like this in all times working in all mediums.

Darcy Gerbarg

December 1983

Artist Statement December 1983

My work does not derive from science per say, but rather is dependent on a technology that was originally developed for scientific purposes. The technology is computer graphics, a development of computer science, that had its beginning in aerospace research. This same technology was further developed by the military for surveillance and by industry for use in designing and manufacturing airplanes, automobiles, etc.  Later the textile and printing industries developed graphics techniques for their specific applications and now these tools have become available on a broader scale, to artists. A few artists were involved with this technology at the very beginning stages, but it was not until the development, by Alvy Ray Smith, in 1979 at the New York Institute of Technology, of a user friendly, interactive color paint system, that I became involved in using computer graphics technology to create my images.

Until that time I was primarily using pigmented paint mediums to make paintings. Frustrated by the limitations of physical mediums and believing that the leading artists of each generation were using, or in the least aware of, the latest technology in their fields, I set out to find out what the latest technology was for the visual arts. I was familiar with electronic music and thought there would be a counterpart for visual composition. I was not interested in moving images and so did not consider film or video.

From the second I first used a paint system, I knew I had found the tool that would best serve my sensibilities. It was direct, controllable and seemingly infinite in its capabilities. My career since that time, in 1979, at the New York Institute of Technology is the record of my explorations in this new medium, the development of computer graphics technology and its applications in the production, or fabrication of art works in many other mediums.

In addition to making art I have felt compelled to promote the field in general by organizing and mounting the first professional art shows for SIGGRAPH, public talks and presentations, university teaching at New York University, the Pratt Center for Computer Graphics and starting in the fall of 1984, the School of Visual Arts, in New York City. In June 1984 Abbeville Press will release, Art in the Computer Age, an art book which I am co-editing with Cynthia Goodman. ( Updated information- I withdrew from this book project to create and direct the Graduate Program in Computer Art at the School of Visual Arts and Dr. Goodman wrote the book with Abbeville Press)

My interest in physical reality, as distinguished from movies and video, led me to architecture. It is in this arena that I hope to make the best use of computer graphics for designing and previewing large scale human environments, for which I will then have tiles, carpets, murals, etc. fabricated. 

Darcy Gerbarg