My first job after college was at The Mill London, where I completed an incredible unofficial apprenticeship. I rose from runner to lead Flame Artist in just four years. I and Frank Budgen, Chris Cunningham, and Rupert Sanders, among others, worked together on a lot of commercials and music videos that won awards.
In 2003 I moved to The Plant New York. In 2004, I was nominated for an MTV VMA for my work on the video for Michel Gondry’s “Walkie Talkie Man.” I started working on award-winning projects like Audi Synchronized (Clio) and Nike Human Chain (Clio, Cannes Lion) when I joined Mass Market/Psyop New York in 2006.
In 2012, I moved to Method Studios in Los Angeles. I’ve been working for myself as a freelancer since 2013, which has given me the freedom to investigate other fields besides advertising and allowed me to collaborate with a lot of great companies like MPC and Framestore.
In 2011, I occupied time-pass photography as a side interest. On Vimeo, two of my films—Fall and Spring—were awarded Staff Pick. In April 2018, my Spring time-lapse was selected to appear in Times Square as part of their Midnight Moment series. It played on 21 screens (one of which is tied for the lead position as the best outside screen on earth) for the time of April. In 2018, I made time-lapse videos for Spotify, Dell, and Florence and the Machine.
Jonathan, please share your unique perspective on art.
JONATHAN: I believe myself to be a generative craftsman, especially with regards to the utilization of regular example development speculations to plan and workmanship. Using the legendary British mathematician and computer scientist Alan Turing’s diffusion equations, I specialize in the creation of dense landscape works and rich textural morphologies.
After reading this Scientific American article about the Mandelbrot set in the middle of the 1980s, I remember becoming extremely interested in computer graphics. I chose to learn at the ANU Australian Community for Human expression and Innovation because of that. After that, I work at the ANU Supercomputer Facility for about a decade. I believe that using computer programming to create art has an addictive quality.
It’s a little like betting: I just keep changing the program to see what doesn’t make a particular picture come to life: The product is able to produce a variety of outcomes because the program runs without input from beginning to end. Try to make a framework that can freely create fascinating result.
