Interview
Benjamin Kandler, our Director of Digital Art, sits down with artist Iskra Velitchkova to discuss her upcoming feature A captive parrot as the inauguration of Unit Digital’s ‘Beyond the Code’ series.
Benji Kandler: In our conversations we have discussed your love of both nature and code. The motif of birds appears across your practice. Can you elaborate on the significance of this iconography – where did it start and why is it important to you?
Iskra Velitchkova: Birds have naturally and holistically become a visual representation of my study theme: the distance that separates us from things and how it can be measured.
In short, what attracts me most to generative art is the idea of a second self that emerges during the process. The combination of randomness where the eruption of shapes and reminiscences transcend the artist’s initial purpose. In my case, during an informal study of representing a tree and in an effort to break the code in every possible way, I suddenly saw what seemed like a memory of a bird emerge. This gave visual form to my question: is it possible to find, through code, forms and elements of nature that, although we haven’t designed them, we have generated and therefore can understand how they were designed? In other words, can we determine how many lines of code separate us from the design of a bird? And if so, could we one day discover how many lines of code, or what distance, lies between us and the origin of our being?
In the end, these are rhetorical, abstract, and poetic questions, but my birds encapsulate this field of reflection that guides my practice.
BK: For some of our audience who might not be familiar with your practice, could you let them know how A captive parrot was actually made?
IV: Of course. This piece originates from the exploration of colour in one of my recent works: ESCAPE.
ESCAPE is a purely architectural piece, both in form and message. It speaks of structure rather than shape, with colour being restrained in favour of an austere exercise in simple composition. This challenge paradoxically helped me reflect on the role of colour.
When I studied the possibility of adding colour to some pieces with the Tonic team, I began to explore this idea. Initially, I experimented with physical works, colouring some pieces. I enjoyed this and decided to transfer the concept to the computer, but I didn’t like the effect combined with the monochromatic palette. However, once ESCAPE was completed, I continued exploring colour independently. As a separate project, this opened a path that intrigued me. After several iterations, playing with colour, shadow, and textures, I created this charming (for me!) parrot. I refined it over the following weeks, much like sculpting, until I arrived at the final piece.
BK: I feel that A captive parrot is highly referential to your earlier explorations with architecture, can you tell me more about this?
IV: Sure, as I mentioned earlier, this piece stems from a purely architectural exploration. While much of my more recognisable work is organic and subtle, working with more geometric pieces often allows me to express myself with greater minimalism, which I really enjoy. These are two distinct paths I like to explore.
In this piece, however, both paths come together, which I find very interesting. It’s a representation anchored in straight lines and polygons, almost like an architectural plan, but it’s the colour that liberates the parrot from within. I’m fascinated by what we can see from different perspectives and how this image blends organic essence with code in a natural dialogue.
BK: What are you most proud of when you look at this piece and why is it so important to you?
IV: I’m not sure if proud is the right word; I find it hard to feel pride in my work, as I always think pride is reserved for something that has yet to come. But there are pieces that I feel very good about, and this is one of them.
ESCAPE was a very special project for many reasons, including the calm and dedication with which I was able to work on it. In some way, continuing my search for colour after that project brought a lightness and joy to the exploration. I felt almost like a child, playing with freedom and curiosity. When I suddenly saw my beloved bird emerge from the lines of code, it felt like something clicked in my own universe, and it was an immediate decision to turn this emergence into a solid piece.
When I got the opportunity to work with Unit on a piece, it seemed like the perfect project to showcase. Unit has supported me from the beginning in my explorations of both birds and eyes (which are also rooted in my theoretical study of distance). It’s always an honour to contribute something of myself to your projects.
BK: A captive parrot evokes a sense of beauty and restriction. Is there a message you hope viewers take away from this piece?
IV: In this scene, the bird is both inside and outside its cage. It’s up to each person to decide where they see themselves. Often, it’s as simple as looking from another angle to realise we are actually outside the cage. However, outside the cage, freedom comes with responsibilities. How prepared are we for that freedom?
BK: What’s coming next? What are your plans for the year?
IV: Ah… many many things. I’ve spent the first half of the year working on the second half, essentially. After a period of less activity in terms of launching, I’ve dedicated time to reflect and think about what I truly want to do, and I’m on that path now. I have several projects lined up for this year, some of which are very exciting for me, where I explore both digital and physical aspects with complete freedom. The upcoming months are definitely going to be exhausting, but I’m very happy with what lies ahead. I hope to share more soon!
