This project consists of a collection of over 100 drawings presented at an 'Atelier 26' exhibition in 2024. The drawings were generated using p5.js, inspired by the theoretical concepts found in Paul Klee Notebooks, vol. 1: The Thinking Eye and vol. 2: The Nature of Nature. Through programming, the project explores the relationships between form, movement, and structure, reflecting Klee’s approach to art as a dynamic and organic process. The code does not merely render shapes but follows structural principles that allow for the transformation of forms, evoking the idea of metamorphosis and genesis, where each composition develops like a living organism, expanding and contracting within a predefined system of rules.
A central aspect of this project is the notion of microcosm and macrocosm, extensively discussed by Klee, in which small structural elements generate broader patterns, reflecting the interconnectedness between parts and the whole. In the developed code, this is translated into the repetition of basic units—points, lines, and planes—that combine into dynamic compositions, revealing the growth and organization of forms on the screen. This approach echoes Klee’s concept of structural analysis and morphogenesis, where art should not merely represent nature but emulate its internal formative processes. Another relevant concept applied to the project is the distinction between endotopic and exotopic space, fundamental in the spatial organization of the artwork. The programming defines endotopic areas, where elements are structured internally and contained, and exotopic regions, where patterns expand outward, challenging compositional boundaries. This interaction between centripetal and centrifugal forces in the digital pictorial space enables a deeper exploration of dynamic equilibrium within the image, an essential characteristic of Klee’s pedagogical approach to visual construction. The tree metaphor, so present in Klee’s artistic theory, also permeates the algorithmic logic of this project. Just as Klee viewed the artist as a trunk through which creative forces flow from root to crown, the code acts as a mediator between predefined parameters and the emergence of new forms. The generated drawings are not mere products of programming but manifestations of a living system that responds to subtle variations, aligning with Klee’s cosmological vision, in which art reflects the primordial forces of nature and its internal structuring.
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