Eliza Struthers-Jobin

BIO

Fascinated by the influence that programming and algorithmic thinking have on the creative process, Eliza Struthers-Jobin has been creating artwork with code since 2015. Her work is experimental, mediative and rythmic, motivated by a continuous cycle of exploration and unexpected discovery.

Imagining the hidden spaces that exist in the overlap between here and there, IRL and URL, the idea of transposing participants into parallel digital spaces in real-time, provide constant inspiration. How does it feel to be in two places at once? How can you feel something you can't quite touch?

Eliza collaborates with fellow artists, studios as well as brands creating works for festivals, shows, and to showcase new and emerging technologies.

She also mentors and teaches workshops on such topics as shaders, generative art, real-time graphics & sound programming techniques, and creative applications of AI. Eliza holds a DEC in Film Studies from Dawson College, a Bachelor's in Communications & Journalism from Concordia University, and a Masters in New Media, Web & the Arts from Université de Paris. She is a self-taught programmer.

Eliza works with a variety of tools & languages including:Touch Designer, GLSL, Unity, Unreal Engine, React Three Fiber, ThreeJS, Processing (Java), Ableton

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Dream Project: Granulations (2024)

Granulations is an experimental investigation of generative art and audio. This work explores what happens when we combine two generative systems together, allowing them to inform one another.

The piece is activated with a click, triggering intertwining movement and melodies. Colors and collisions elicit a cascade of signals that add to, shift, and influence the soundscape. In turn, the audio feeds back into the visual space, altering its spatial qualities. The result is a unified, ever-changing output.

↓ Click on the image below to reproduce the artwork ↓

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What is Responsive Art to Eliza Struthers-Jobin?

For me, it comes down to flexible autonomous systems. It doesn't have to be created with a computer, but as we know, the art form does lend itself really well to code, and it lives so comfortably in the browser.

The crux of the generative aspect is the system and its rules, combined with the element of the unexpected—randomness. Where it was once the randomness of human interpretation (of the rules of a given system), it's now become programmed randomness injected into the algorithm, (or the random hash injected into the minting process). Personally, I like to include a bit of an interactive element in my work as well, so that people can experience the randomness in a more personal and active way.

As for the responsive aspect, well, if we are in the browser we must move with the browser. It can take on so many dimensions and so must what it contains. A static frame no longer makes sense, which brings yet another layer of the unexpected to the mix.

/ TGAM's NOTES

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Eliza's versatility with a wide variety of tools sets the foundation for explorations in sound, interactivity, movement, and everything in between, always making her projects interesting and a source of inspiration.