UTC +2
Persuasion Between Two Skips
This animation is an exercise in the abstract expression of my immediate urban environment. How might the familiar landscape of Berlin be used to communicate my evolving relationship with it? Which characteristics of the city best reflect how I perceive it? This experiment uses the deformation of 3D photogrammetry models to produce an uncanny portrait of reality.
Audio by Viewfinder aka Anna Tskhovrebov.
Animation, 2024
Untitled Walking Simulator
There's something of an incliniation to absolutely surrender myself to the all-encompasing and inescapable black hole of the city. Not because I particularly desire to, but because I feel I must resign myself to the inevitable and the absurd. Still, we exist — but in what remains? Here is an exploration of that experience; a sort of gulf — a deep ravine, chasm, or abyss.
This is an ongoing interactive "game" project. An urban environment is portrayed with rudimentary 3D graphics, allowing the player to explore an implicit, ambient narrative.
In Progress
Freeze Etch — All Context Vanishes
Adam Duckworth is my cousin and a skilled musician. Throughout our adolescent and adult lives, we've enjoyed a fruitful creative relationship encompassing visual art and music.
In 2020, 12 years after his first full-length album, Vessels, he released All Context Vanishes. There followed two collections of remixes — All Context Remixed and All Context Remixed V2.
For this artwork I rode my bicycle around the city of Berlin searching for locations that might prove appropriate photogrammetry subjects. Adam however was unsatisfied with the outcome, so we chose a more personal subject: photos of a formative house he had lived in from 2008-2011. The results proved substantive, though they took some practice. The first turned out okay, the second was better, and the third was the best. They're displayed in reverse chronological order.
Graphic Design, 2019–2021
Ableton Live — Instruments and Effects
Since 2016 I've been working as an interface designer at Ableton. My formal role focuses on the design of musical instruments and audio effects, as well as on providing design guidance and resources for my department.
I believe Ableton's mission and values can be a positive influence on our modern lives, and I am truly grateful to be able to contribute to them. Over the years the people I've had the privilege to collaborate with, the challenges, the conflicts, the opportunities, and the learnings both personal and professional have made it a continually rewarding experience.
Here you can find a list of devices for Ableton Live that I've contributed to:
Core Library
In collaboration with Christian Kleine, Matt Jackson, Marco Tonni, and Harry Bissett.
Channel EQ
Delay
DS Clang
DS Clap
DS Cymbal
DS FM
DS HH
DS Kick
DS Sampler
DS Snare
DS Tom
Envelope Follower
Envelope MIDI
Expression Control
Hybrid Reverb
LFO
MIDI Monitor
MPE Control
Note Echo
Pedal
Phaser-Flanger
Redux
Shaper
Utility
Convolution Reverb
In collaboration with Matt Jackson, and Christian Kleine.
Convolution Reverb
Convolution Reverb Pro
IR Measurement Device
PitchLoop89
In collaboration with Robert Henke.
Creative Extensions
In collaboration with Christian Kleine, Marco Tonni, and Maurizio Giri.
Color Limiter
Gated Delay
Melodic Steps
Pitch Hack
Re-Enveloper
Spectral Blur
CV Tools
In collaboration with Matt Jackson and Skinnerbox.
CV Clock In
CV Clock Out
CV Envelope Follower
CV Instrument
CV In
CV LFO
CV Shaper
CV Triggers
CV Utility
Rotating Rhythm Generator
Microtuner
In collaboration with Matt Jackson and Iftah Gabbai.
Inspired by Nature
In collaboration with Dillon Bastan and Trang Nguyen.
Bouncy Notes
Vector Delay
Vector FM
Vector Grain
Interface Design, 2016–Current
Survey
One theme that I'm drawn to is closure, in the gestalt psychology sense — our tendency to automatically fill in the gaps when given an incomplete picture. This piece is an exercise in closure. I believe it's not so much what we perceive directly that leaves an impression on us, but what we perceive indirectly. The empty spaces of implied environments activate the imagination and allow us to participate in them. This subconscious participation can make these symbols more engaging and more "real" than when we are given all the information.
Animation, 2021
A Scent, a State for Each Chapter
In 2017 I released a short EP of experimental ambient music. While I do not consider myself a very skilled musician I do find great satisfaction in exploring the design of sound and mood, particularly those with meditative and focused qualities. Much of the album relies on samples of short, expressive musical phrases that have been stretched and looped.
Thematically the music is inspired by memory. I find that when recalling previous periods of my life I associate a distinct character with them. This character is generally compartmentalized and exists as discreet chapters. As I get older the chapters become stale.
The unexpectedly expressive photo of a house cat appearing to experience an existential crisis is an old family photo from my mother.
It's possible to listen to the music on Bandcamp.
To accompany the music there exists a website at eric-carl.com, which was created with the assistance of Theo Lampert. Each song is paired with an edited sample of found footage. It could be said that it's interesting how the footage gets recontextualized and takes on a different character than its source. You could also just say that it was stolen. I guess it depends on how you look at it.
I had the opportunity to perform the music twice in Berlin in 2017; first at the Berghain Kantine as part of the Traurig und Untanzbar event organized by Tobias Lichtmann, and second at the Spektrum venue, which is sadly no longer in existence, as part of an event series organized by Dirk Markham.
Music, 2017
GIFs
The animated gif — a dear format of the internet, longstanding, humble, and dependable.* Over the last few years I've enjoyed it as a subject for visual explorations of looping rudimentary elements, space, and noise.
How can the visual subject justify the format of the loop? What is the value of seamlessness and seams? One doesn't have to be too skilled at creating the illusion of life when noise will do so much for you. They're primarily black and white as I find the structural and spatial qualities of form compelling to explore (plus it looks dramatic).
*Let's acknowledge that what you see here are videos rather than gifs. This is due to the fact that videos are more economical in regard to file size, performance, and energy consumption. Let's hope that these characteristics don't contribute to the format's demise.
Animation, 2015–Current
Kin — Modular MIDI Controller Concept
One thing we can do is come up with ideas. Here's one for a modular MIDI controller system, for the purposes of making music. The system consists of a series of control surfaces that can be combined according to the personal needs of the musician. These are mockups for speculative visualisation only.
It's thought-provoking to invest oneself in an idea then look upon it later with an alternate perspective. How do our feelings change? Here my concern shifted to one of cost/benefit. What is the cost of producing even more physical products and foisting them upon the world? Adding to the world has a cost, not only of natural resources, but also of the space and attention consumed by something's existence. There is just so much. What criteria is needed to justify more? Would such criteria even be desirable?
Product Design, 2015
Tangible Interaction — Digital Graffiti Wall
I had the opportunity to work with Tangible Interaction on the interface design of their Digital Graffiti Wall. The Digital Graffiti Wall allows individuals to perform various digital graffiti-related tasks such as spray painting, mixing colors, and choosing nozzle types, brushes, or stickers. The most challenging thing about this project was designing for a full-body experience without a live prototype for scale. So, I just put some tape on the wall.
The people at Tangible Interaction were very pleasant to work with, and I hope they are doing well. We can thank them for the nice video you see here.
Interface Design, 2014
Microfilm
This artwork was designed to accompany a short and unfortunately abandoned collection of electronic music. I found it enjoyable to explore the juxtaposition of a rich (in both substance and style) found photograph and rigid synthesizer graphics. Both elements are randomly interrupted and distorted for the purposes of ambiguity.
The back turned out better than the front as I find the front too "on the nose" (that is to say, lacking nuance). Can you guess which is which?
Graphic Design, 2013
Logos
While not a core areas of focus, I do sometimes enjoy the task of designing a logo. Here you can see a small selection, both commissioned and self-initiated. The challenge is notable: create a symbol that honestly represents the subject, reduce the form to its most fundamental, and imbue it with an undefinable character that makes it relatable, timeless, unique, and memorable. Good luck!
Graphic Design, 2006–Current
Remote Computer Value Definer
Here we have a speculative design exploration for an iPad app that acts as a remote control for Ableton Live. The app is intended as a tangential input source while working with Live in a focused desktop environment. The context of use is assumed to be something akin to sound-design-as-songwriting, affording a meditative and mindful experience that focuses on only one or two parameters at a time.
At some point I read a definition of minimalism that described it not so much as reduction of the superfluous, but as focusing on a singular characteristic. This is intended to be in that vein.
Interface Design, 2013
The Venusian
This illustration was commissioned by a friend for their feminist science fiction anthology, The Venusian. The illustration explores two-dimensional form and contrast through the subject of a space suit helmet. Is it human or alien?
I'm unsure if the anthology was ever completed, but sometimes the end result isn't the most important thing. The idea itself and the experience of pursuing it can be just as valuable.
Illustration, 2012
little-scale — Destroy Yourself Already!
little-scale of Australia makes enjoyable music that, while most easily defined as "chiptune", is broader in practice. It's abstract, experimental, evocative, and impressionistic. I made this artwork for fun, then I made it again. Maybe you'd like to listen to the music?
Graphic Design, 2011
Instruction — Gnomon School of Visual Effects
From 2010 to 2015 I taught a 10-week Graphic Design course at Gnomon School of Visual Effects in Hollywood, CA. This course occurred during a 3-year program in which students developed artistic skills for the entertainment industry including 3D modeling, visual effects, matte painting, and concept design.
I had the opportunity to develop a curriculum intended to bridge the gap between traditional graphic design and the more illustrative and 3D disciplines of film and video games. As a course that students encountered early in the program there was a focus on fundamental design principles and how they might be applied to various artistic fields.
I was an untested instructor, and teaching was a strong catalyst for my own personal growth. I developed a stronger intellectual curiosity for design and became more confident as a speaker. Having a new group of students four times a year meant a regular rotation of new perspectives that often challenged my own assumptions.
Teaching, 2010–2015
Diesel: Only the Brave
In 2009 I was invited by HKI with several other artists to contribute a design for a browser-based 3D room to support the marketing of Diesel's Only the Brave fragrance. That's right, I traded my creative labor to help sell cosmetics. We must all engage in capitalism from time to time.
What's unfortunate is that this project relied on the now extinct Adobe Flash plugin, so sharing the work is difficult. In its place is this static 2D version that approximates the original. You may need to use your imagination to visualize the addition of multi-colored neon lines raining from the sky with an accompanying electronic soundtrack that builds to a climactic digital hysteria.
Illustration, 2009
White Shrine
If you understand what's going on here, you'll have to let me know. Sometimes a fun way to design can be to do things for reasons that are unclear or irrational. In this case we're talking about a poster, or perhaps an illustration, or maybe even a digital photo collage. Regardless, we're just talking about making things — exploring what's possible and discovering why it's intriguing. A bit of ambiguity allows the viewer to draw their own conclusions.
Following this piece, I was invited to contribute a tutorial to the now-extinct Computer Arts magazine, though I was disappointed with how the second attempt turned out. I felt that since I was unable to repeat the succes, I must be a hack, a fraud. Fortunately, now I believe that a mix of successes and failures are to be expected from the creative practice of nearly any artist. That comes with the territory. And who wants to repeat success by always doing the same thing?
Graphic Design, 2008
Teethmarks on the Barrel — A Warm Touch
Sometimes an image absolutely arrests you, like this blind contour drawing of myself done by Natalie Rowe. It seems to give the impression of eating one's face. For years I've been hoping for a project to come along that might justify its use. For now, we'll just have to pretend that the band Teethmarks on the Barrel exists, and that they've released an album called A Warm Touch. I was in a band with this name many years ago, and band member Rob Monroe wrote a short story called "A Warm Touch". Natalie and Rob have both given us a lot.
Graphic Design, Then and Now
Blog.Sans-Concept.com
From 2006 to 2012 I had a small blog where I would write about art and design. I would primarily share interesting work by other artists, inspirational resources, and whatever bit of random design ephemera I had recently taken a liking to (mainly illustration and science fiction from the 1970's).
Like many others at the time, I eventually lost interest in the blog as centralized social media platforms became more dominant. Thankfully now the pendulum seems to be swinging back to smaller, self-owned communities.
Since I would sometimes share work that was potentially long-forgotten, there were some occasions where an artist, or one of their family members, discovered the blog and reached out surprised to have found someone still sharing their work. These unexpected connections are one thing that I'm grateful the blog was able to achieve.
Website Design, 2006–2012
freezeetch.com 2007
This was a website designed to support the musical endeavors of my cousin Adam Duckwork aka Freeze Etch. It was something of a throwaway project in the sense that Adam didn't ask for a new website, and I knew I didn't have the technical skills to complete it. But this seems to be how many projects are born. Will they grow into something substantial or be discarded?
The design still resonates with me for some reason. I appreciate the contrast between the rigid, grid-based typography and the warm, abstract background imagery and color. It's composed of manipulated stock photographs of flowers.
Website Design, 2007
sans-concept.com 2007
This isn't a website that was ever published, but it's at least one that was designed. Is it dishonest to present it now in a way that doesn't quite reflect how it was then? Regardless, it's an old portfolio website much like this current one. I have a better idea of what I'm doing now than I did back then. That means progress, growth even. But isn't there value in naivety? What about the "beginner's mind"? What's the value of experience when context is so frequently changing?
Website Design, 2007
I Used to Wear False Teeth
I'm not sure where to start. Let's pretend that I released a small collection of music in 2006 and needed an album cover. My friend Leah Schroeder shot some portraits of me with some decorative objects. "I used to wear false teeth". Of course, if you're young false teeth are something you'll more likely wear in the future than in the past. It's a contradiction, but also personal.
The back is a found photograph from a vintage French magazine. It seems strange to use a modern photo for the front and a found photo from the past for the back. But sometimes it's best not to overthink things.
Graphic Design, 2006
Eyesore
This illustration was created for the now-defunct t-shirt Brand Oddica. Why exactly I thought this was something people might want to display on their body I'm not sure (it was 17 years ago). Regardless, this illustration consists of parts of my face.
The people at Oddica were extremely nice and very generous to the artists with whom they collaborated. Once these shirts were printed, my friends and I wore them out bowling. That's a nice memory. It was later included in the book Torso.
Apparel, 2006
Amtrea T-Shirts
Around the mid-2000s I went into business with Stuart Conover. Together we produced a line of graphic t-shirts, themed after the Midwest region of the United States of America (our home). Farm animals, sprinkler systems, Paul Bunyan, woodland debris, and electric pylon landscapes...these were our subjects. We launched the website, sold a handful of t-shirts, then immediately lost interest. I still wonder what happened to all those shirts.
Looking back what I appreciate most are the skillful photographs of Leah Schroeder, featuring local friends Leslie and CJ. What can be said about Leslie, CJ, and Leah that isn't evident in their work? Only that I'm deeply appreciative of their contribution and the long-standing record of our collaboration.
Apparel, 2005
Freeze Etch — Rustic Tonnage
This is an album cover had I made for my cousin Adam Duckwork aka Freeze Etch. As best as I can remember it was unsolicited and never used — a vessel without content. It was one of my first experiments with 3D graphics. You might be able to recognize some influence from other work that was popular at the time.
I never really thought much of it until now, as this is the first time I chose to include it in a portfolio. It's a strange feeling, looking back at something you made so long ago and seeing something in it that you didn't appreciate at the time. Is that because our taste has changed or because we've forgotten the experience of making it?
Graphic Design, 2003
Winamp Skins
Stop for a moment and imagine yourself back in the year 2000 or so. You can download some MP3s from Napster, but you'll need a computer program to listen to them. So, you might download Winamp. Then you might discover that you can customize the appearance of Winamp using skins. There is an absolute surplus available, created by a variety of passionate and creative people. Here are three that I've made. Once you're all settled you can play some Snood.
Please note that two of these images are marred by moderate JPEG compression. That's unfortunate, but it's all that remains of these vintage computer graphics.
Interface Design, 2001–2003
Desktop Wallpapers
During the late 90s and early 2000s it was common to seek out pleasing images for display on one's computer desktop. The format was a significant creative outlet for many digital designers around the time, myself included. The ones you see here reflect a time when I was beginning to solidify my skills as a digital artist. Thanks to my 20-year-old DeviantArt account I still have a record of them.
Around this time, I was also a member of a digital art group called seire. I mention it only in the hopes that if someone were to search for it, they might stumble across this reference. This is my humble attempt to contribute some commemoration of its existence.
Graphic Design, 2000–2001
Primate
Someone walked into the woods and took off their clothes. They documented the experience by taking some photographs with a disposable camera, which I later modified on the computer. They used the fundamental elements of nature to censor themselves.
Graphic Design, 2000
Turpentine V5
Can a website also be a coming-of-age story? I'm not sure if this qualifies, but maybe it's something like that. Turpentine was my earliest design portfolio. In addition to artwork, it included some design tutorials and personal essays.
What seems notable is the context in which it lived. During this time the personal portfolio website was a satellite of sorts — a member of a loose community of artists and designers, often orbiting a central message board (or two). Such a website held a precarious role, operating as both an individual creative outlet and community entrance point.
You'll likely notice some curious blue question marks here. I'm thankful that archive.org still had some record of this website, even if it's missing a few pieces.
Website Design, 2000
User Maps — Duke Nukem 3D
I like to attribute my professional career to a particular juvenile video game released in 1996, Duke Nukem 3D. I was a young teenager at the time and became absorbed into the modding community during the period when internet access was becoming widely available in the US.
These early experiences of constructing environments in which one shoots aliens with guns began to develop my interest in game design and the evocative qualities of architecture. I also maintained a humble fan website called Asbestos' Duke 3D Page ("asbestos" was my map authoring name). This website is the earliest record I have of my design work and is an artifact of a particularly formative time.
Eventually my interest in the game decreased while my interest in website design and digital art increased, which eventually lead to my education and career.
In 2022, while working on the version of my portfolio that you're viewing now, I decided I would revisit some of my unfinished Duke Nukem 3D work and get it into a releasable state. The result of that is Bacon Grease, a level that was started in 1999, was completed in 2022, and is now available to play for those inclined to do so.
Games, 1998–2022
