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This collection is intended to provide an overview of my style of abstract art. Each of these artworks can be examined with the zoom-in feature to show the level of detail that you would see in my large prints. Click on an image, select a spot to magnify with the green square, and click there. Note that the smallest of these images is 48 by 40.75 inches.
All of these abstract images are quite intricate; they are suitable for close viewing and have an abundance of rich textures as well as other small details. When you examine these images -- even at the detail level -- you may notice that they are stylistically unlike artworks you have seen before. Unlike more sensible digital artists, I spent years creating my own painting software. These tools enable the unique effects reflected in these highly detailed large images.
Ray Yeargin has been creating abstract art and developing his techniques and tools for over twenty years. Beginning as an expert programmer specializing in algorithm design, he performed hit-and-run graffiti attacks of 'performance art' on unattended computers. Ranging from infinitely-varied Christmas trees to constantly changing abstract art scenes, many of those computers were left running the art graffiti, untouched, for weeks.
Later, he developed ever more elaborate code to create, color, and manipulate a large variety of objects and shapes. Eventually, he reduced that list to the three simple and favorite shapes that he mostly uses today; circles, triangles, and smoothly-curved crosses.
When he began developing the early versions of what was to become his current software, rendering a basic, four by five inch image took twenty-four hours. Now, most images are created at the much more usable size of approx. 60 by 60 inches, before being cropped, colored and variously manipulated into their final forms. After setting up code to create a scene, the first step of rendering one of these large raw images still requires as long as 36 hours on a modern server.
Much of this phase of Ray's work is done in that least-graphical of computer environments, the text editor. Code, written in the C language, is tailored to precisely control a virtual paintball gun which paints each object one pixel at a time. Often, many iterations of code modification and rendering are required before the intended scene reveals itself.
More conventional methods of image development are used once the raw scene is rendered in a usable state. Color changes, object editing, and other enhancements are done directly with image painting and editing software to finish the scene.
The resulting style of this round-about process is unlike any other. Ray's large-format images contain smooth gradations of color, rich detail at close viewing distances, and unique background textures--sometimes fragmented and broken to reveal the layers below.
Ray lives with his family in the Tallahassee area of north Florida.