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Hitoshi Arato
Feb 27, 2022

Michaël Zancan is a former oil painter, longtime programmer from the South of France, working at the convergence of figurative and generative arts.

Bewitched by density, lush plants and trees, Zancan defies the genealogy of LeWitt, Mohr, and Molnar with wild abandon that neglects any pretense of geometric post-minimalism as output.

The initial goal of Zancan was to use mathematical formulas for creating patterns inspired by the density of nature, that could be used by a pen plotter, so it kept focusing on outputting vector lines. This history and practice produced a graphical style based on line strokes, plus occasionally some transparent, filled shapes. His works defy the now-dated expectation of somehow “looking algorithmic,” seemingly composed with a painterly eye to balance and density.

"Spring was blooming all around the house, taking over the stones and remnants of ancient battles that stood here. Inspiration was everywhere." — Zancan

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Hitoshi Arato
Feb 27, 2022

Michaël Zancan is a former oil painter, longtime programmer from the South of France, working at the convergence of figurative and generative arts.

Bewitched by density, lush plants and trees, Zancan defies the genealogy of LeWitt, Mohr, and Molnar with wild abandon that neglects any pretense of geometric post-minimalism as output.

The initial goal of Zancan was to use mathematical formulas for creating patterns inspired by the density of nature, that could be used by a pen plotter, so it kept focusing on outputting vector lines. This history and practice produced a graphical style based on line strokes, plus occasionally some transparent, filled shapes. His works defy the now-dated expectation of somehow “looking algorithmic,” seemingly composed with a painterly eye to balance and density.

"Spring was blooming all around the house, taking over the stones and remnants of ancient battles that stood here. Inspiration was everywhere." — Zancan

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