It’s easy to get lost in perception-skewing art. Artist Bradley G. Munkowitz, better known as GMUNK, is easily one of the most intriguing (and prolific) visual designers around. His portfolio spans from the astounding holographic sequences of Tron: Legacy (2010) to Box, an artistic and technical project of synthesizing “real and digital space” (created with Bot & Dolly, where Munkowitz served as design director). Munkowitz has a long history with contorting technology in new, artistic-leaning ways, while combining color and practical effects (as with Box) in the process.
In Munkowitz’s latest project, Sub.Division, he swaps his typical 3D shapes with flat geometrics. As described on the project’s site, “The goal was to generate perceived movement and pattern by taking basic primitive shapes and subdividing them into various levels of geometric intricacy.” So, essentially, creating a surprising amount of depth, but with shapes that wouldn’t otherwise provide it.
Sub.Division hosts a variety of different “perceptual landscapes.” In some, the color is completely saturated, and cubes spiral downwards to create a sense of vertigo. In others, the color itself helps to stretch the viewer’s perception of the image, making some grid-like spaces feel like they span miles. Munkowitz created the varied collection using a combination of the MASH plugin for Maya, the Arnold Utility Shader, fisheye warping (for the wormhole effect), Adobe Lightroom, and of course, manually fixing all the little imperfections that Munkowitz faces.
Sub.Division’s pieces are no small feats. In fact, they measure in at approximately 15,000 pixels by 15,000 pixels, with 300dpi to boot. Though every piece of art within Munkowitz’s Sub.Division seeks to bend atypical perspectives of shapes and grids, it’s the complicated process behind the motley of works that makes the series even more enriching to the naked eye.
Munkowitz’s perspective bending collection of Sub.Division has high-quality prints available for purchase on CinaArt here.