3812: The title “Imaginary Flowers” suggests something organic but constructed. What does “imaginary” mean to you in this context?
Slosar: “Imaginary” in this context means I am not trying to mimic nature or create something that you would see in nature. I had the clear idea that, using the software I created, I could conceive and create flower-like objects unlike anything anyone has ever seen before, displaying colours and designs that are not natural but look natural. That’s why it is imaginary — it is a product of my imagination.
3812: Having lived in Hong Kong for much of your life, a city often described as the “Fragrant Harbour”, what is it particularly redolent of for you when you create the Imaginary Flowers series? (Rhythms, colours, density…)
Slosar: Hong Kong is a place of great colour and density — always full of people, colours and signs. Having lived there for so long (almost 46 years), those things have undoubtedly left an impression on me. You can see that in the exhibition, where the use of colour is quite strong, with very vibrant colours. In Hong Kong, you can put a lot of colours together and somehow it looks good.
3812: Your art can be considered self-contained, crafted using software that you developed yourself. How has the technology extended your artistic hands and agency?
Slosar: It is a trade-off. Digitally, I can make art that is very intricate and detailed. I can deploy a huge range of colours. There are around two million colours available to me. That is the trade-off compared with paint and brush, where you can't necessarily paint the same number of colours or create the same level of intricacy. They are both brilliant in their own way. For me, it's the rhythm and the intricate detail that I really like.
3812: How would you like viewers to approach your work? To what extent do you encourage your audience to rely on intuition and instinct versus conscious interpretation and analytical reading?
Slosar: The first thing I want someone looking at my work to think is, "Wow, it looks nice," because as humans we form first impressions very quickly. It's part of our evolutionary background — we see something, we meet someone, and we make a decision very quickly.
On closer inspection, I'd like them to have two further thoughts. The second is, "That's interesting." There are a lot of details in the work, unlike many other works of art. Then the third thought is, "This is interesting and different from other works I've ever seen."
3812: This is your first solo exhibition as an artist. What does this milestone represent for you personally, and how does it feel to present this body of work publicly for the first time?
Slosar: It's been a long process to get here, and I'm very pleased. I conceived the idea of using digital software to create art about 15 years ago. It took quite a long time to develop the software that I now use, and everything has slowly come together.
Calvin (Co-founder and Chairman of 3812) gave me a challenge: to produce some really nice pieces of art. That was great because it gave me motivation, focus and direction. I hoped it would result in a body of work worthy of an exhibition, and I'm very pleased with how it has turned out.
3812: What does it mean for you to debut this exhibition with 3812 Gallery, which has a strong presence in both Hong Kong and London? How does this context shape the way you see this body of work being received?
Slosar: I've known 3812 Gallery, and Calvin and Mark, for quite a long time. It's so impressive how dedicated they are to building 3812 Gallery into one of the premier galleries in both Hong Kong and London. They are passionate, dedicated and incredibly hardworking.
When you look at their stable of artists, it's clear they represent outstanding names. At the same time, they devote a great deal of time and effort to developing younger artists—or, in my case, a new artist—giving us the opportunity to find our feet and present something truly worthwhile.
