An Introduction from the Tree

I consider myself a fractal artist. Not because I work with fractal media but rather because, whatever media I work with, I find myself looking at fractals. Scale variances, self repetition, randomness, order within chaos... As natural as it feels to me right now, though, initially I stumbled upon fractals by mere coincidence while looking at a friend’s drawings on deviantArt. After that, something just kept me going at fractals. I can’t tell what the driving force was, but here I am now, seeing fractals wherever I look.



Fractals are what nature is made of. Now would you dare say this wasn’t fractal art? I can’t. And that is why I feel obliged to include it here, in this blog dedicated to fractal art.
Named On Fractal Grounds Pt. 1, it’s part of a series of photos taken from a plane during a particularly eye-pleasing flight from Istanbul to Montreal.

The following fractal was done in Apophysis, which I used and abused exclusively for more than 3 years. I rarely “plan” my fractals. That is to say, I don’t tend to start out doing a fractal with a particular goal in mind. I feel like Apophysis is the perfect tool for such artistic spontaneity.



This here, Vicissitudes, is a result of one of those sessions of opening up Apophysis, turning on some music (which usually ends up giving my fractals their names) and playing around with forms, colors and textures via numbers until I like what I see. This one took its name from an Esbjorn Svensson Trio song, mostly due to the tidal interactions between the forms and the overall instability. I feel like it deserves its name as the image lends itself to many interpretations from “an imploding galaxy” to the savannah and “dying breath of a caught gazelle” - to quote some of the comments made on it by fellow artists.

This last fractal I want to show you was made in Ultra Fractal, which I started using about a year ago simply because it suddenly became more convenient after switching to a MacBook which would not let me use Apophysis with its full features. Right now, I would say Ultra Fractal is my weapon of choice.



Bloodthirsty is from a time when I was experimenting with sFBM II to see what I could do with a single layer. The title was inspired by Vicarious, from Tool, which was playing in the background as I was looking for the right colors for this grungy fractal.

Looking back now, I see myself mostly doing flat, textural abstracts of many kinds. I can’t say my style has converged to a particular standard yet, but I’m not sure I want it to either. I would hate to be predictable.

Finally, if you would like to see my other works, here are the links to my full gallery and my portfolio that has some of my chosen works.