Finestra

Supply:5 unique pieces

Technique: p5.js, recursion and parent/child provenance

Rarity: inscribed in uncommon sats

Price:

Option
1:
SOLD OUT

Option 2: SOLD OUT

Finestra

In this collection, I weave together my fascination with the ethereal beauty of light as seen through stained glass or natural biology, the elegance of art nouveau, and my personal reflections inspired by the architecture of Barcelona.

This artistic endeavor is not merely an exploration of color and light but a dialogue with the materials and techniques that allow these elements to transcend their physical boundaries and use generative techniques to re-discover an old tradition.

In my work, I strive to embody the principles of transformation and interaction that are so vividly represented in both the stained glass of ancient churches and the modernist facades of Barcelona.This interaction between light and structure guides my approach to digital art, utilizing p5.js to mimic and expand upon these natural and architectural phenomena.


The technical side of my project involves a deep dive into the capabilities of p5.js, using it as a brush to paint with light. By adjusting the opacity and layering of colors, I simulate the depth and vibrancy seen in both stained glass windows and the texture of the windows. The use of transparency in my work is a nod to the clarity and depth of acrylic plastic, which serves as the perfect medium for these light-based explorations.

In my work, I intricately mix together the use of grids, grain, geometry, and displacements, creating a rich tapestry that mirrors the complexity of light as it interacts with form. These elements serve as the foundational structure of my pieces, guiding the flow and distribution of light across the canvas. Coupled with a palette inspired by the RGB spectrum, I aim to capture the vibrancy and depth of colors found in natural light.


Through this exploration, I aim to invite viewers into a realm where the digital and the physical merge, offering a unique perspective on the beauty that surrounds us and the innovative ways we can capture and express it.

Harto I Finestra

Harto I Finestra

Who is Harto
Harto is an artist and designer born in Spain in 1993. His work is a blend of generative algorithms, nature mathematics and digital innovation.

With an academic background in industrial design and prototyping, Harto transitioned from theatre scenography to the digital art world during the 2020 global pandemic. He has gained recognition for his digital creations and NFTs, which have been exhibited globally and even launched into space.

Previous Work

Harto's previous work includes a diverse range of projects. He has participated in designing projects for international clients, performed in over 100 live shows and light-art festivals worldwide.

His digital artworks have been exhibited in New York, Miami, Hong Kong, and at numerous prestigious NFT events. Notably, Harto has collaborated with more than 50 international artists and was involved in launching the first NFTs into space as part of the Rakia mission.

His first works on ordinals were in the first week of the protocol with the SATS collection, one of the first generative art collections on ordinals. Ranging from 8815 to 49891 and totalling 99 pieces.

After SATS, his most notable works are The Golden Ratio and Floraforms, the first collaboration between a traditional museum (Belvedere) and a generative artist on ordinals.

How do you describe yourself?

I see myself as an artist who thrives on innovation and the challenge of pushing boundaries. My work is a fusion of the physical and digital realms, a reflection of my deep connection with the natural world and a testament to my enthusiasm for exploring new digital frontiers.

My journey from traditional art and theatre to the world of digital art, particularly in the realm of NFTs, illustrates my adaptability and forward-thinking perspective. This transition not only marks a pivotal shift in my artistic expression but also aligns with the evolving landscape of contemporary art.