Ben Kovach: The Mathematical foundations of Generative Art

In celebration of Unit London Web3’s online exhibition, Building Blocks, we invite you to join a conversation with one of the participating artists, Ben Kovach.

The sparse, converging lines of Ben Kovach’s minimal series Function Compositions evoke a sense of nostalgia for the aesthetic of hand-drawn graphic illustrations or diagrams on graph paper. Paying homage to the foundational role of geometry as a common language, these works recall the beauty and order which can be found in the science that underpins the world around us.

UL: How do you navigate the relationship between mathematics, generative code and geometric aesthetics?

BK: These disciplines are all symbiotic in my work. Sometimes, like in Function Compositions, I approach artwork as a system. This is me thinking in mathematics – abstract objects and mathematics – and letting the system do the work. Other times, I have a specific aesthetic I am after, and work backwards to figure out the mathematical operations necessary to achieve that aesthetic. Once the process begins, the boundary between disciplines becomes fuzzier and the artwork emerges after living in that world for a while.

UL: Do any historical art movements resonate with you and your practice; Do you intentionally draw any parallels between your work and that of the past?

BK: I think of the abstract expressionists as early pioneers of generative art, and works from that period have influenced a lot of my work in the past. While these artists were – generally speaking – creating work by intuition, I believe that computers give us the opportunity to reflect on and codify our own intuitions so new ideas may emerge from them.

UL: The works you have submitted for the show range from solid blocks to intricately layered grid structures, what is the inspiration behind these varying compositions?

BK: As hinted at previously, Function Compositions was born from the idea of a closed mathematical system. Essentially I wanted to take a simple form – the square grid – and create a system that can alter that basic form in such a way to build a variety of compositions out of it. With this project, I wanted to build something that leaned heavily into emergent behaviour to begin with. I would say the primary inspiration behind doing things this way was my time spent studying abstract mathematics like set/group theory and computer science topics like Markov chains.

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Ben Kovach is a Vermont-based generative artist whose passion for art and technology has led to a unique blend of creativity and precision. After achieving a B.S. in Computer Science with a minor in mathematics from the University of Georgia, he dove into generative art, fascinated by the randomness, code, and mathematical principles which define it. Focused on building art from first principles, he strips down drawing APIs to their core to construct automated systems that feel natural and unique. His artwork has been collected and exhibited internationally, including a solo show of his ‘100 PRINT’ series with Bright Moments Gallery in New York and he is notable for his ‘Edifice’ collection on Art Blocks.

UL: Can you tell us a bit about your background and journey into creative coding?

BK: I’ve always been into art from a young age. I used to do a lot of pen drawings and paintings when I was a teenager. Eventually I pivoted my focus to computer programming, which I surprisingly found to be quite a creative process. After spending a few years going through school and working for startups, I started pulling some of my visual art tendencies into my programming work, which turned out to be a surprisingly rich source of new ideas.

UL: How did you formulate your dynamic and nuanced approach to geometry?

BK: I don’t often think in terms of geometry and prefer to think more abstractly. I think this helps to tease out some more interesting work in the long run.

UL: Do your explorations in generative pattern have any underlying political or social significance, or do you prefer to focus on the aesthetic qualities of the work?

BK: Some of my projects are all about the system. Function Compositions is this sort of work. I think with a close enough look, the system itself is decipherable, and that is the idea I am trying to get across. I think all of my work has some element of personal meaning; certainly some more than others. I often draw on poetic nomenclature to inform the audience of my personal feelings towards a body of work.

UL: Are there any specific artists who influence your work/practice?

BK: Admittedly I draw inspiration from a lot of artists. I would maybe even say that other visual artists are my primary influence. There are too many historical figures to name here, and the current generation of generative artists continue to inspire me to push my practice forward as well. As for Function Compositions, I was particularly inspired by Agnes Martin’s gridded paintings and Josef Albers’ geometric work.

UL: Some argue that generative art is hard to access since it requires a certain level of technical skill and expensive equipment. How do you respond to that and how do you ensure that your work is accessible to a wide audience?

BK: My primary goal as an artist is to be true to myself and my influences. I believe that some people will connect with the work and some will not, and I reject the idea that artists must try to appeal to a broad audience. However, I do my best to explain my process to those who want to know more, and am typically open to diving into my algorithms with other people.

Stay tuned for more exclusive artists interviews from all the groundbreaking generative artists featured in our exhibition!