MVR: Nature and Virtuality

The biggest of Michael Victor ª MVR's computerized works of art, got from craftsmanships he paints with hard pastels and after that outputs, are tries in a sort of Post-Impressionism. Rather than little markings of paint, MVR's scenes create rather from 'discovered pixels' in the picture – modest gridded shading squares that make up checked (now 'rasterized') work of art.
Particular pixel courses of action of examples, which form into special surfaces and shading impacts, fill in as 'crude material' for painting. This crude material can change definitely starting with one work then onto the next. All through MVR's 'pixel painting', a flooding clairvoyant quality ties complex decorations together; in his most developed works, immense interrelated components render them spatially expressive.
Equivalent to Seurat's Pointillism, the craftsman draws in the two his palette and the spatial breadths of his scenes all alone terms, facing his compositions with inquiries to be replied through his procedure of close-up examination, revelation, and understanding of 'discovered' pixels. A last understanding is given through the choice of paper with particular visual characteristics, improving and strengthening content.
The outcome is a natural, gestural reaction to the relentless stream of pixels conveyed by 21st century advanced broad communications; from the earlier substances soaked with common, regularly fabulous surfaces and hues reproduce the sky, arrive, water, trees, and assembled includes in commonplace situations that are loved by every one of us. Along these lines, the climate of MVR's work progresses toward becoming zapped with an over imperativeness, felt from the painted works' expansive, clearing strokes down to the most moment and correct pixel designs.