Mari.k is a freelance 3D/voxel artist based in Istanbul, Turkey. With a passion for Isometric dioramas and architectural design. Creates microworlds out of voxels (each voxel is a 3D pixel) for people to explore. 

Constantinople ( Istanbul )

After living in Istanbul for a while now, I still get excited and inspired by the amazing architecture and the beautiful sights. It gets me every time and has such a deep impact on me emotionally. It feels like home to me now. This piece is a tribute to all the glory and the greatness of this beautiful historical city. Vibrant colors indicating my vision of this beautiful place and the vibes it gives me.

Diomira: 

Diomira is the first city described in the book (“invisible cities” by Italo Calvino) and the one that I fell in love with right away while reading. I could clearly see a vision of those glorious silver domes in my head. 

It was so exciting as if the author was painting a picture in front of me himself. Each word was shaping a part of the creation in my head voxel by voxel. 

Emiris

I had already sent my two entries for the exhibition, but at the last minute I saw a vision of a city in my head and could not ignore it. Emiris wants to be found and share its stories with people. Captivating stories of all the lifeforms this city once have held inside. No one knows when or how it got lost, but now we might be able to find a path leading to it through echoes of time. 

There are two reasons why I love to use cities as the subject of my art. First is my passion for architectural design and second is what cities mean. cities can be like an encyclopedia of a culture, of generations of people. It’s not only a group of structures and buildings for human interactions but it holds people’s stories, cultures, mysteries, emotions and all the lives being lived in it. It’s something that’s always the most appealing to me.

I look at each city like a whole new different world waiting to be explored. Each city has its own unique spirit and it’s own meaning. You just have to look really closely to be able to grasp that feeling. Cities would talk to you!  

I haven’t been lucky enough to visit many cities yet, but among the ones I have, Istanbul is by far my most favorite city. You can get heavily inspired just by walking in old neighborhoods of Istanbul. I’ve always had a thing for historical monuments and architectural designs with arches, domes and minarets. Looking at old buildings and trying to guess their story throughout years has always been a hobby of mine. I would get drowned into amazing shapes and details of a single ornament and would cherish the effort went into making it. 

I like to make people look at cities from a different perspective literally by making isometric dioramas. I create tiny worlds and cities from another point of view to show it as a whole also to show how very small pieces come together to shape that bigger picture as one. 

First step for me would be learning about the subject. I start by gathering a large collection of reference images and I would read and research about it a lot. I follow the work of some amazing artists and architects and always get inspired by their creations. 

I learn so much about how cities are built, what defines them and different aspects of them in the process. The more you immerse yourself in the subject the more vividly it takes shape in your mind. It slowly becomes alive and that’s a very exciting part for me personally. That moment of epiphany and giving birth to an idea, that’s what I live for.  

And then comes the hard part of actually executing the idea you came up with in the most perfect form. Sometimes you would be limited by the tools or lack of certain skills and you’d just have to deal with it or better yet it can force you to pick up new skills or tools to avoid discarding a good idea and then your growth happens followed up by that.  

For me it would be a city where architecture and nature become one.  

The relationship between nature and cities is definitely one of the most important aspects of my work. I usually define the general shape of the structures in connection to their surroundings which is mostly created using natural organic shapes and/or foliage. 

I care about the details in my work very much so it always thrills me when people take their time and notice them, they’d find the smallest little details and point them out to me.  

Actually I have 2 dream projects. One is to team up with an architect and to design a life size building with cubes and actually be able to see my work in the physical world. And second one is to make a massive voxel universe in the adventure/exploration game genre so people can explore around and maybe find hidden treasures! 😉

Karisman is a generative artist with a CG background who has been feeding himself with urban culture, glitch art, and futurism. He tries to challenge the mediums to meet analog and cyber, past and future, real and surreal. He believes that every asset around is natural, and already is a muse as well as an instrument to create. In his works, he asks the what-if questions about life and surroundings.

I create anonymous cities. They haven’t existed in the past, nor are they a pure projection of the future; but they are cities that are real and imaginary at the same time. The cities I use are every city that ever existed and like no city ever. 

I love the cityscapes in particular because they are made up of different buildings that are all unique, but also repetitive at the same time. Cities have fractal properties that I play within my art.

Cities are like shared memories of collective consciousness. The human mind always operates with the ideas of time and space. It is impossible to imagine otherwise, where there is no time and no space. We assign meaning to a series of events with the help of time and space, and make them into memories. I am interested in the idea of infinity and timelessness. It’s very hard to visualize time; therefore with manipulating places and cities in particular; I try to indirectly play with the idea of time.

Every artist’s first inspirations are their immediate surroundings. Mine was my hometown Istanbul. Istanbul has a very multicultural history, where it was the capital for many empires throughout history. Therefore Istanbul is very diverse in its architectural and cultural elements; where there are historical monuments near the futuristic skyscrapers. I love the chaos in it. I also like New York and Tokyo; for their skylines with tall skyscrapers; and also for the chaotic element they all share. New York,  Tokyo, and Istanbul are all vivid, dynamic, and living cities; which inspire my design aesthetic. 

I aim to provoke discussions about the idea of infinity by manipulating spaces. I deconstruct cities to trigger the questions about time. Cities are residences to people, therefore they are more personal than any other place that I can imagine. Through the depiction of the cities, I also make belonging relations visible. My work doesn’t have a declarative narrative, what I am concerned about is not writing a story, but retelling a condition that happened, is happening, and will happen in the future. By playing around with the concept of timelessness I try to create a feeling of infinity where everything and nothing exists together. 

I do generative video-art using real images and manipulating them. The generative aspect makes it possible for the randomized selections from infinite outcomes. I believe this method I use best serves my content. The art I make can be considered postmodern in its technique and medium. My design esthetic is influenced by deconstructivist architecture, glitch art, and op art.

My ideal city is a Heterotopia; as not things are better or worse, just different. No judgment can be ideal for everyone. Instead, I dream about a city with many realms.

Currently, I’m working on ghost cities that don’t interact much with people or nature. The cities I create are already like alive beings, moving, breathing, and behaving just like other living organisms.

Although we perceive otherwise, time has no beginning or end. Just like my video art, it is looped, time is infinite. My work doesn’t wait for its audience but it plays in a loop sequence. This purposeful choice of medium communicates that my art is not a declarative narrative, but retells a happening; occurring continuously. They are self-existent pieces.

I am very much interested in the technological aspects of digital art. I am already mixing and experimenting with different mediums and various techniques. My dream art project is to come up with an innovative digital technique that hasn’t been used in art before to create a metaverse in a physical realm.  

As one of the original Instagram artists, Elise Swopes learned to connect with a worldwide audience of millions by melding art with a message. Since then, the Brooklyn-based photographer has worked on countless ideas showcasing her surreal cityscapes and streetwise style.

Chicago has been my favorite playground for over a decade. I moved to New York in March 2020 and it’s been a lot of fun playing in a new territory. 

Architecture flows through color, lines, and shapes. Architecture looks different in certain light and weather. Architecture is free and available to explore. So, it’s difficult not to use it as my subject when I began as a college dropout with no money. Taking photos of people has stressed me out a bit, though because I’ve had to boost someone’s self-esteem so they can perform confidently but the cities always perform. They’re always confident.

Cities feel limitless. Every corner is new on any given day. From down below to high up, I’m intrigued.

Chicago, New York, and Tokyo. Tokyo changed me as a person. The way people respect one another and show kindness is so special.

Cities are the canvas to my soul. They give me an opportunity to dream and add a little bit of me to every photograph I take.

I love taking helicopter flights around a new city. I think it’s one of the most unique perspectives you could possibly have. I take photos with my iPhone mostly but I also use a Canon R5. I also edit everything on my iPhone within a couple different apps that I’ve been pushing to the limit for almost a decade. I believe I’m painting surrealist scenes with my fingertips.

My ideal city has a good mix between natural occurrences like waterfalls, forests, or mountains mixed with manmade concrete and glass. In respect to Mother Nature, of course.

Some may see some of my art as destructive, but I like to imagine it as a regular day. Although subconsciously, there’s a lot to be said about human’s lack of care of the Earth and personal responsibility.

How important iPhone art is to younger people who don’t have expensive equipment or programs. I’ve been working diligently for over a decade even when it wasn’t popular to make sure I stayed on the map. It wasn’t easy and I was tested plenty of times to give up. But I persevered and will continue to.

To produce a curriculum for high schools around the world for iPhone photography and editing.

Fabio Giampietro was born in Milan, Italy, he is still alive.

Through his seminal painting technique of subtracting the color from the canvas, he realizes powerful and intense figurative paintings.

In Fabio Giampietro’s work the barriers of art come tumbling down and the propensity of continuity and simultaneity amongst the three spatial dimensions and time becomes tangible, though still imponderable to the viewer’s eyes. His work marks the liberation of painted forms from the classical framework, enhancing a process already well established in the course of Italian Modern and Contemporary Art. It started with the revolutionary theories of Futurism at the beginning of the XIX Century and continued with the velocity of Lucio Fontana’s gesture of cutting the canvas to explore the space behind and beyond it.

Giampietro’s investigations melt the tradition of painting with the most innovative technologies conjugating the planes of space and time and annihilating the contemplative distance between the senses of the spectator and the reality of the art work. The virtual dilatation of the painting invites the spectator to experience its reality within its newly exploded boundaries, calling on all the possible resources of psycho-sensorial experience. His main achievement lies in the fact that he shows that the painted work on canvas no longer has a central core, even though it exists and faces us. Rather, it presents a dissemination of observing points linked to the spectator’s physical movements inside the virtual coordinates of the space arranged for us by the creative mind of the artist. For this reason, every step inside Giampietro’s work also guides our voyage inside of the nightmares and the dreams of the artist’s mind, more vividly and presently than ever.

Cities in my art are inspired by the image of the “megalopolis”, the continuous, uniform city that is covering the world swallowing the nature between one city and the others. if it were to be one of the Invisible Cities in Calvino’s book, it would be Cecilia or Leonia.

My artistic journey started studying Coney Island, the first Luna Park in history. Lot of social and technological experiments took place in that magic territory and it was the genesis of a new urban experimentation, a new way of looking at architecture that led to the verticalization of the cities. It was a radical change in conceiving the city, so very well described in Delirious New York by Rem Koolhaas. If at that time New York was a unicorn, an extraordinary case, a laboratory of artificial, technological and futuristic research, nowadays the town planning concerns a bigger number of cities, where the border between artifact, reality and nature seems to be vanished. I look at the cities like human artifacts, geological signs and prints humans are leaving on the planet, I am fascinated by the shapes of the metropolitan areas looked from far above in space. The similarities in how we are terramorphing and shaping our planet and the ways all the other life forms colonize their space are stunning. 

Cities have always been the places to be for evolution, innovation, culture and art, they stand like open air museums of the history of past civilizations. Well this was until the web, the decentralization and the pandemic.

NYC is the main inspiration in my work, the first vertical city made of concrete, the Icon of a city. Many of the New York skylines are shared and consensual figures. Images of a certain place that people acquire and keep, either because they are borrowed from novels or movies. They are therefore cultural representations and mnestic figures at the same time. The communicated image of the skyline that carries power is generated by the buildings themselves that have an undeniable power on the formation of the Icon.

I am also inspired by the speed of the new asian megalopolis and by the babylonic attitude of the Emirates that transformed fisher villages in metropolis in a human lifespan.

I use cities, buildings and skyscrapers as pieces of a puzzle, they have become my alphabet that I use to tell stories. In the metromorphosis series landscapes are transformed into portraits. In my works nature is often absent but I painted the forces of nature in the form of tornadoes, tsunamis and earthquakes, all composed of buildings to underline the direct link between human action and its consequences on nature.

After years of research in city painting I ended up creating my own painting technique to speed up and refine the process, I called it oil on canvas subtraction. You can watch it in this video here because as always it’s easier to see than to describe. I try to induce in the viewer dizziness and vertigo. I want the viewer to be surprised and totally immersed in my canvases which are often quite huge. My exhibitions often combine a playful side with something unsettling that generates awareness of the issues that are the theme of the work. This led me to approach digital technology, I wanted more and more interaction between my works and the public and when 6 years ago consumer VR came on the market I immediately adopted it and I began to create immersive paintings in which the viewer had an active part by actually entering the picture.I found that the mix of the real painting standing like a portal and VR is a very effective recipe for vertigo!

My ideal city is made up of small interconnected parts like cells of a larger organism, like tiny worlds with a green and wild park in the center as a core surrounded by different areas dedicated to culture, commerce, finance and education with a small residential area within each of these. In this way every citizen has to cross the wild to reach each area during his daily routine meeting other people, doing activities and being aware of preserving nature.

It definitely looks nothing like dystopian worlds like the ones I paint which are more warnings about where we are going and what will remain of us.

In my art there are often no people. Cities that stand like fossils, frozen in time like huge statues witnessing human civilization, sometimes nature appears reclaiming its spaces to testify how ephemeral we are in the time of the universe.

Definitely the handmade details. God loves details! In the portraits series for example there are a lot of hidden details, easter eggs that are references to the subject life. In ‘Oldboy’, the piece I selected for the exhibition there are for example hidden rifles and guns, a complete red light district with liquor stores and Strip Clubs, the college where John was a teacher and others.

I have a dream, a decentralized real life exhibition taking place simultaneously in different cities, I want to paint a lotus flower shaped city inspired by the Lotus Temple in Delhi, that is, a temple where anyone can practice their religion. In each of the cities I want to exhibit a single petal-shaped work, through VR visitors will be able to enter the painting and see the whole flower and also the other visitors of the other exhibitions and they will be able to communicate to each other through a specific sound language that I am developing. It only remains for me to study a way to be present at all the openings for the vernissage drink!

Annibale Siconolfi is an artist, architect and sound designer from Italy. His art is characterized by a complex 3D modeling of futuristic cities and landscapes. Annibale has experimented and studied different 3D techniques with the aim of giving life to his visions characterized by endless urban scenarios, coexistence between nature and technology and new types of habitat. His work has appeared on some of the biggest online art and architecture platforms and exhibited in France, Russia and Italy.

Futuristic, mysterious, eternal. The cities of future are the main subject of my art. My vision of these cities is influenced by the work of architecture masters like Le Corbusier, Louis Kahn, Antonio Sant’Elia but also from writers like Philip K Dick, Isaac Asimov, Italo Calvino. Since i was a child i experimented with different fields of art, from sound design to architecture, and i think all these elements now converge in my artworks.

I’m an architect so it was natural for me to start experimenting with cities models.

The thing that fascinate me mostly is the complexity of the cities. I like to analyze how the urban fabric has evolved from the begin to the actual status, and how it could be in the future. 

They represents the greater expression of the human sociality. Every city is like a complex organism to study and humans are their lifeblood.

Honestly i think there are so many beautiful cities, i don’t have a favorite one. One of the city which inspired me lately was Naples, i’m fascinated by its dense urban fabric, the overpopulated areas and so many influences of different cultures. Also i like by the contrast between the urban agglomerations and the “empty” of the sea. 

I want to represent my dystopian / utopian vision of the cities of future. I try to relate to the extreme consequences of some problems that afflict the world today, such as global warming, overpopulation, pollution, epidemics. But it is not always so obvious. In other works, I like to create more pleasant cities and landscapes of the future, in which the observer can get lost pleasantly for a few minutes. But generally i prefer that the viewers will have their own interpretation of my works. It’s nice to see how they inspires so many writers and directors to create stories around.

Generally i start from a vision i had in my mind, i try to realize it as much detailed as possible. I experiment a lot of not standard techniques with 3D softwares trying to represent it. if you have a precise idea to realize in your mind then you have to find the technique to create it and i think this is the funniest part of the creation.  

I think cities of future should have a better organization and more respect for the nature. I would like to see more parks / green areas and less traffic.  Also i see the ideal city of future as a city able to accomodate all the cultures of the world in a peaceful way.

the relationship between nature and cities it’s one of the main themes of my work. Some of my artworks are characterized by extreme solutions for this difficult co-existence, like enormous O2 generators able to clean the air of the polluted areas or gardens built on the top of abandoned cities. I hope that these scenes will stir viewer’s conscience. i think we need to change our life style and find solutions to defeat the pollution problem, this is what our planet is asking us now.

i’m obsessed by little details, so i always hope that my viewers will spend some time to observe all of them.

i have so many dream art projects. one of them is to realize an explorable 3d city based on my artworks.