About Lynn Cole

Background

Hello, my children. My name’s Lynn. I’m an experimental artist with roots in the coffee shop gallery scene in Seattle. The type of art I create is less important than the adventure of creating it.

My creative journey has its beginnings in my mysterious past. You see, I was abused as a child, so I ran away from home. I hopped on a freight train and rode all the way out to the Midwest. What I didn't know at the time, was that rail yards are frequented by bands of insane telephone book salesmen, and they kidnapped me as soon as I got there, selling me into the circus, where I was raised by a band of beautiful anarchic clowns. They nurtured my iconoclastic anti-authoritarian nature in me and provided me with useful insights, like how to throw bricks at billionaires. They were bastards, but I love them. As you know, Dada represents life.

I like change and challenge. I hate bullies and gatekeepers with an intense passion. I believe in radical accessibility and that creating art is the only way to save the world. The tools or technologies you use to achieve that are unimportant.

It is my sincere hope that you're a forward-thinking person who believes in the power of art over capitalism and oppression. But if art, and the availability of it threaten you, we probably can't be friends.

In my younger life, I was a gallery artist who dreamed of making avant-garde comics. It was another lifetime, I was a different person, with a different name, and I had some success with it. By day, I worked in a boring computer science job, but at night I would mix my own paint and invent new methods of manufacturing art with no aura. Work created intentionally to be dead and soulless, a mockery of everything the art establishment and the conformist bullies hold dear. So naturally, digital was a good fit as the technologies developed.


The Accident

In 2009, my art career was temporarily cut short when I was in a motorcycle accident in Kansas City. My hands and wrists were both crushed by the impact of a bike malfunction in mid-speed traffic, and I lost my ability to draw without pain.

Both of my hands had to be reconstructed, but over the nine months it took to heal, I had lost some movement, as well as a lifetime of muscle memory I had built up. I no longer knew if I was left or right-handed. It was difficult; getting back to a point where I could create anything I was happy with took years. 

With my new physical limitations, it became that more important to get good with a mouse. This reality guided my decisions to embrace 3D, game design, and various types of 2D animation – all of which I’ve been doing ever since.

I don’t think I’ll ever be the kind of artist I was before the accident, but I don’t think I want to be.

Tooling and Medium

Typically, I specialize in anamorphic collage, especially since Photoshop introduced Generative Fill, which I believe is a game-changer for production artists worldwide. At the time of writing this, my focus is once again on fine art, art literacy, and advocating for technology in art, including machine learning and AI-based tools. I see these tools as absolutely essential in breaking up the creative monopoly corporations have held over artistic expression for my entire adult life.

I also work with a variety of 3D tools, including Blender, Unity, Reallusion's suite of 2D and 3D tools, such as iClone, Character Creator, and Cartoon Animator. I'm still heavily involved in motion capture work, concentrating on talking avatars and game environments.

My creative process continually evolves, adapting to new tools, techniques, and mediums. By delving into the collective human unconscious of latent space, I blend generative synthetic art with 3D, animation, or XR to create intriguing and visually compelling pieces.

Into the Dream

We're at an inflection point where technology is unlocking endless possibilities for human expression through art. Accessibility, transparent research, and a progressive egalitarian mindset are crucial in harnessing this potential.

That's why it's more important than ever to push back against bullies, bigots, fascists, process purists, and luddites. These forces have always been present in the artistic world, but their behavior and ongoing campaigns of anti-human hate speech, bullying, and gatekeeping can no longer be tolerated or allowed to exist unchallenged. 

There is a limit to this sort of fuckery, and we are well past it.

We are entering a future of dreams that artists and art philosophers could only have dreamed of even a decade ago. And it's going to empower everyone.

That's why they're scared.

Unfortunately for them, creativity is a human right, and it will be realized, as we all begin to make art... by any means necessary.

I love you all.