The name “like that” comes from two places. The first is the remix of the Run DMC song “That’s The Way It Is”. The second is from my youngest son’s use of “like that!” as a general assertion when he was little (equivalent to “really!” or “I’m serious!”).
The colour schemes are: white (actually grey) from Rachel Whiteread’s “House”, multicoloured (randomly) from Julian Opie’s “Imagine You can Order These”, (caucausian) flesh pink (from Jeff Koons and from Art & Language’s “Now They Are), black (actually grey) from Malevich, and red yellow blue and black from De Stijl.
The forms are squares (from any modernist work), cubes (ditto, but with special reference to Opie’s modernist deconstruction), circles (from more practical data visualization), arrows, and silhouettes of various real-world objects.
The compositional schemes are a simple scatter burst, a radial burst, and various kaleidoscope schemes.
The intent is to create visual allegories for various experiences and activities and conditions. Events, travel, war, art, various aspects of social history notably to do with race and sexuality.
This is a sequel of sorts to Inbetween Cities, strongly influenced by yBA art but with an emphasis on a kind of temporal grammar or rhythm all of its own. It is far simpler visually than technology currently allows (I am always a late early adopter) but hopefully far subtler and richer.
It is haunted by the kitsch spectre of screensavers, but hopefully rescued from this by its failure as distracting spectacle. If it doesn’t end up far enough from Inbetween cities it will be a failure. It is not object orient and is neither chaotic nor anti-war. The possibility of success requires the possibility of failure, even its likelihood. I have a lot to pull together and move beyond here.
It is GPL licensed.