Georgy Voronoi was a mathematician born in 19th century Ukraine. His most notable achievement is what we now call the Voronoi diagram.
While the Voronoi diagram has applications in various fields of study, it is most definitely one of the major building blocks of computer-generated graphics (along with Gaussian distribution, Perlin noise and Delaunay triangulation, all of which were extensively used to generate the project). As an example, such diagrams are frequently used to generate naturally-looking land textures, cell organisms animal patterns as well as stippling patterns.
In my project "Dear Voronoi" I explore another more artificial property of Voronoi diagrams – their divisiveness and tendency to provoke feelings of emptiness and isolation.
The project comes at a time when words such as "isolation" or even "social distancing" are used daily because of the pandemic we are living through and while certain parallels could be made, it is mainly concerned with social problems preceding the pandemic – problems such as the effects of social media on human communication, growing income inequality and the trend of monopolisation of the digital economy.
As plenty of people talk about Web 2.0 and social media bringing us together, helping us communicate efficiently, I aimed at visualising its well researched by-products that bring us apart – filter bubbles and echo chambers – phenomena responsible for the unprecedented radicalisation of communities that brought us a failed attempt of coup d'etat in the country supposed to be the leader of the free world, conspiracy theories such as QAnon and flat Earth and a recent spike in harassment of minorities around the world including my own country.
In an attempt visualise these ideas the human figures are either completely isolated in their personal polygon or their small in-groups separated by nothing but a dark void, robbing them of any opportunity of genuine human communication and empathy for the social other.
To capture the feeling of cold alienation and unfairness produced by digital technology monopolised by a few highly controversial corporations both of the triptychs were fully algorithmically generated with no human interaction whatsoever.