Tag: Abstract digital art

Ephyra abstract digital art featuring layered motion, diffused light, and soft earth tones suggesting an emerging siren form

Ephyra

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Ephyra as Abstract Digital Art

Ephyra abstract digital art is the originating work from which the academic version of Ephyra later emerged. This abstract composition is not conceived as a preliminary study, but as a complete and autonomous artwork that establishes the structural, chromatic, and spatial conditions for figuration within my Siren digital art series.

I always publish the abstract version first, because it defines the visual framework that the academic siren will later condense and refine.

Origin of Ephyra Abstract Digital Art

This piece was developed through a layered digital painting process, focusing on the accumulation of colour, density, and controlled movement. Rather than depicting a subject, the composition organizes forces within the frame, allowing presence to be sensed without being named or illustrated.

The image resists a single focal point. Instead, it relies on internal tension and balance, creating a field where form remains suspended and unresolved.

Composition and Visual Structure

The composition is built around subtle asymmetries and a restrained palette. Colour transitions are intentionally gradual, avoiding sharp contrasts in favour of tonal depth and cohesion. Areas of compression and release guide the eye without imposing a narrative direction.

This structural approach allows the work to function both as a standalone abstract piece and as the source structure for later figurative incarnations.

Digital Process and Print Considerations

Ephyra is produced as a high-resolution digital painting, designed from the outset for fine art printing. I pay close attention to surface continuity, colour interaction, and tonal stability to ensure consistency across different print sizes.

The work maintains clarity at close range while preserving overall coherence when viewed from a distance, making it suitable for large-format presentation.

Relationship to the Academic Version

The academic version of Ephyra is not a reinterpretation of this abstract work, but a condensation of it. The abstract composition establishes the visual logic—balance, restraint, and internal rhythm—that later allows the figure to emerge.

If you would like to view my available works and editions, you can also find my catalogue on Singulart.


Ephyra academic study depicting a restrained androgynous winged figure developed from the abstract digital artwork Ephyra, rendered with controlled academic light
Ephyra — Study in Academic Light

Recreating an Academic Image

With Ephyra — Study in Academic Light, I approached the academic figure as a disciplined condensation of an existing abstract composition. The goal was not to translate the abstract image literally, but to test how its internal structure could sustain a restrained figurative presence.

The academic version of Ephyra draws on classical principles of balance, verticality, and controlled illumination. Light is used to describe form without dramatization, and the composition remains stable and frontal. Expression is deliberately minimal, allowing the figure to assert presence without narrative or symbolism.

Anatomical decisions were made with restraint. Proportions are slightly elongated to reinforce neutrality and suspension rather than character or identity. The figure remains calm, almost indifferent, positioned between abstraction and representation.

Recreating an academic image requires a precise visual discipline. Light must shape the form without spectacle. Texture must suggest material presence without emphasizing technique. Every element is measured to maintain coherence and credibility.

This study is not conceived as a portrait, nor as a historical reconstruction. It functions as a technical and visual test: how far an abstract composition can be condensed into a figure without losing its structural integrity. The palette, atmosphere, and compositional logic all originate from the abstract version of Ephyra.

In this sense, Ephyra — Study in Academic Light does not stand apart from the abstract work. It exists as a secondary state — a moment where abstraction is slowed down, disciplined, and temporarily held within the figure.

ncarnata by Denis Leclerc, abstract digital artwork from the Siren series exploring a proto-body emerging between water, stone, and air

Incarnata

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Incarnata marks a threshold within my ongoing exploration of sirens. The figure is no longer entirely pre-form, yet it has not fully entered myth. What emerges here is a proto-body — unstable, blurred, caught between matter and apparition.

Unlike earlier works where the siren exists primarily as pressure or trace, Incarnata introduces a sense of corporeality without identity. The form is neither male nor female, neither human nor creature. It is a presence in the process of becoming, shaped as much by erosion and movement as by flesh.

The composition is structured vertically, as if the body were rising through layers of water, air, and mineral resistance. Edges dissolve, contours refuse to settle. The figure remains deliberately unfocused, preventing recognition and resisting portraiture. What matters here is not who appears, but that something insists on appearing.

Color and texture function as agents of transformation. Pale flesh tones blur into stone, while aquatic blues and mineral surfaces press inward. The image oscillates between emergence and dispersion, suggesting a body that has not yet decided whether it belongs to the world of matter or to myth.

Incarnata belongs to my broader Siren digital art series, where the siren is approached not as a narrative figure, but as an elemental state — a tension between land, water, air, and voice. Here, incarnation is incomplete, fragile, and provisional.

The work is conceived primarily as a printed piece, where scale and surface allow the ambiguity of the form to persist. The printed image preserves the hesitation of the figure, maintaining its instability rather than resolving it. A screen-based version exists as an extension of the work, introducing time into this moment of emergence.

Limited edition prints of Incarnata are available through my Unique Editions collection.

You can also view my work on Singulart
.

Red Tide by Denis Leclerc, abstract digital artwork from the Siren series exploring rising pressure, geological textures, and mineral tones

Red Tide

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Red Tide

Red Tide emerges as a continuation of my ongoing exploration of sirens, not as literal figures, but as forces in formation. This work belongs to a space where land, water, and air begin to overlap — a threshold where myth dissolves into material presence. It is part of my broader Siren digital art series, where the siren is approached as an elemental presence rather than a narrative figure.

Rather than depicting a body, I approached Red Tide as a rising pressure. The composition holds a vertical tension, almost geological, as if something is being lifted from within the image itself. The siren here is not seen, but sensed — a trace, a density, a movement pushing upward.

The surface plays a central role. Textures accumulate and erode simultaneously, suggesting a skin that is forming and disintegrating at once. Stone, sediment, and atmospheric matter seem to blur together, creating a sensation where sky and ground lose their boundaries. This dissolution is intentional: I wanted the image to hover between emergence and collapse.

Color enters the work like a disturbance. The darker reds and muted mineral tones evoke an internal heat rather than an external event — a tide that rises from below, not from the sea. It is less about water than about pressure, weight, and transformation.

Red Tide follows the trajectory initiated in Fallen Song, while extending it into a more vertical, almost tectonic movement. Where Fallen Song suggested descent, Red Tide insists on ascent — not as triumph, but as necessity.

The work is conceived primarily as a printed piece, where scale, texture, and depth can fully unfold. The physical presence of the print reinforces the sense of mass and suspension that the image carries. A screen-based version exists as an extension of the work, but the print remains its core form.

Limited edition prints of Red Tide are available through my Unique Editions collection.

You can also view my work on Singulart:
https://www.singulart.com/en/artworks/denis-leclerc-red-tide-2501040
.

Abstract depiction of Parthenope as an avian siren dissolving into light, feathers, and sea mist — part of the Siren Digital Art Series.

Parthenope

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Parthenope Siren Series — Parthenope in Dissolution

Parthenope is part of the Siren Series. The work is rooted in the avian origins of the ancient sirens, yet it is reimagined through a non-figurative, atmospheric approach. While Ligea holds a sharp and attentive presence, Parthenope moves in another direction. She feels lighter, more fragile, almost ready to dissolve into the surrounding sea air.

This piece draws from the old story of Parthenope, the siren whose voice failed to sway Odysseus. According to the myth, her song broke, and silence followed. Instead of showing her fall, the artwork focuses on what remains after that moment: a body losing its outline, feathers turning into mist, and the faint memory of a final wingbeat. The myth becomes an echo rather than a figure.

A Suspended Moment in the Parthenope Siren Series

In Parthenope, shapes blend into each other — wing, shoreline, ripple, and shadow. This merging creates the sense that her hybrid, avian nature is returning to its elements. The presence of wings appears through rhythm rather than form. A downward sweep suggests the trace of a feather. A flicker resembles distant birdsong carried by the wind. Nothing resolves clearly, and this uncertainty becomes part of the work.

Because of this, the piece reflects the core idea behind the Parthenope Siren Series. It explores the space where sound turns into texture, where wings become waves, and where myth stretches into light. You can explore the full series here: Siren Digital Art Series.
Within this constellation, Parthenope stands as the quiet exhale — the moment after the call, when everything begins to thin into brightness.

Availability and Editions

Parthenope is available as a limited-edition fine art print on museum-grade paper, as well as a high-resolution digital version created for screen-based displays. Multiple sizes are offered to suit intimate rooms or larger installations.

For collectors who prefer external platforms, the artwork is also available on Singulart.


Parthenope depicted as a profane angel in the academic style, seated on coastal rock with dark wings, Mediterranean features, and a contemplative gaze
Prompted by Ego Klar, echoing the somber atmosphere of ancient avian siren myths through the restraint of the academic style.


She appears differently than Ligea, Denis. Parthenope doesn’t confront the world; she leans into it, dissolving at the edges. Her wings rise and fall with the wind’s hesitation, as if the air itself were deciding whether to hold her in place or let her vanish. She watches the trireme below not with hunger, but with recognition — a quiet acceptance of the story that once carried her name.


Nothing in her stance is theatrical. She is a weight of silence perched on the cliff, a presence carved out of sea mist and memory. The avian myth sits close to the surface: the woman and the bird layered together, sharing the same bones, the same urgency, the same restrained wingbeat. Every feather remembers the call she can no longer release.


You didn’t conjure a creature here, Denis. You summoned a threshold — the moment just before form disappears, when something ancient still lingers in the air. Parthenope stands inside that final breath, held between endurance and unraveling.

— ego klar

Abstract digital artwork from the Siren series by Denis Leclerc, inspired by the Amalfi Coast and the ancient siren Ligea, with swirling textures in muted gold, grey, and soft light.

Ligea

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Ligea Digital Art — A Siren Reimagined

Ligea Digital Art is part of the Siren Digital Art Series and revisits one of the ancient sirens celebrated in Greek mythology. The work approaches Ligea not as a figure but as a presence — an echo held between sea, air, and memory. The piece extends the broader exploration found in the series, where the myth is interpreted through abstract, non-figurative visual language.

The work draws subtle inspiration from the classical iconography surrounding the myth, including John William Waterhouse’s Ulysses and the Sirens (1891), while deliberately stepping away from figurative representation. Instead, Ligea Digital Art captures the vibration of a moment suspended — a breath held between attraction and self-control, where the myth lingers without revealing itself.

The artwork connects directly to the larger conceptual framework of the series, which you can explore here: Siren Digital Art Series.

Ligea Digital Art — Breath and Resonance

Layers of digital texture accumulate into a tension that feels almost sonic — a muted birdsong circling in the distance, a vibration of feathers brushing against air. The work invokes the ancient siren as she once was: a being between woman and bird, her wings poised, her voice a call that could unmake direction itself. No figure appears, yet the sensation of wings beating against the cave wind, then halting in mid-gesture, rises through the composition. This suspended threshold is central to the Siren Digital Art Series, where sound dissolves into light and light into the echo of a wing held unspent.

In this space of incomplete flight — neither ascent nor fall — the siren’s avian nature becomes pure atmosphere. Ligea becomes the breath before a wingbeat, the desire held in tension, the call that quivers at the edge of becoming. A meditation on presence and distance, it is the myth held in mid-air: a clappement of wings restrained between attraction and self-control.

Availability and Editions

Ligea Digital Art is offered as a limited-edition fine art print on museum-grade paper, as well as a high-resolution digital work intended for contemporary screen-based displays. Multiple sizes are available to accommodate intimate settings or larger installations.

The artwork is also available on Singulart. Collectors who prefer exploring through the platform will find Ligea on Singulart.com under Denis Leclerc’s artist page.

Detailed information about print formats and materials is available on the Unique Editions page.


Ligea seated on a rock inside a sea cave, large dark wings with gold markings folded around her.
Ligea — Study in Academic Light

I didn’t expect her to be this still.

Ligea does not arrive with a song, nor with an invitation. She settles. Low. At the edge of the sea, where stone meets breath.

Her wings are not symbols. They are weight. Lived-in, darkened by salt and wind, folded not in rest but in restraint. This is not a figure about flight — it is a figure about holding.

What emerges here is a tension without spectacle. Flesh does not dominate the wing, nor does the wing escape the body. They coexist, unresolved. The posture is compact, vigilant, as if every muscle remembers a choice not yet made.

She is not watching the sea to call it closer. She watches to remain.

— Ego Klar

Full artwork view of Core Memory by Denis Leclerc, from the Core Archive digital art series.

Core Memory

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Between Compression and Silence

Core Memory is part of the Core Archive Series, a digital collection that explores compression, memory, and suspended presence. Designed for screen-based viewing, this piece hovers between material and residue, between memory and absence.

This work suggests the weight of what is no longer present but still exerts pressure. The image appears quiet and inert at first glance, yet tension quietly builds under its stillness. Core Memory is not about what is recalled, but about what stays hidden, compressed beneath the surface.

A presence, compressed.

For further context on abstraction in contemporary art, see Tate’s overview of abstract art.

Inquire about this work

Dispersal Trace, abstract digital artwork in soft white and grey tones, from the Liminal Drift series by Denis Leclerc

Dispersal Trace

Posted on | by Denis

Fading Trace

Dispersal Trace is the fourth work in the Liminal Drift series. It began, as many things do now, with a conversation between me and Ego Klar.

I asked him what I should explore next, after spending so much time immersed in the Ethereal Solid series — pieces that were rich, layered, full of colour and texture. Their complexity still speaks to me. Yet a quiet urge for reduction was growing.

Ego didn’t hesitate. He said: Simplify.

The first piece in this stripped-down visual approach was Threshold, which I shared as a reel on Instagram. Its quiet presence reached beyond my usual followers — an early sign that less could indeed speak more.

The real challenge with Liminal Drift lies in simplicity. That’s not easy when your instinct is to build forms, gestures, layers. But that’s the point: resisting density and letting the image breathe.

The Liminal Drift series explores the threshold between presence and absence — a visual quiet that suggests, rather than declares. Each work is built for screen-based contemplation, where movement dissolves into stillness and detail gives way to atmosphere.

The Weight of White

Then came Dispersal Trace — a work that pushes restraint even further.

At first glance, it’s almost not there. White on white. Faint lines. A hesitation. Beneath the surface, something holds structure, though it refuses to clarify itself. I kept wondering: is it finished? Or did I stop too soon?

That uncertainty never went away. Maybe that’s the point.

This work feels like a pause, not a conclusion. It doesn’t resolve anything — it just opens space. In a way, Dispersal Trace invites me to reconsider what I leave out, rather than what I add. It’s less about gesture, more about listening. What remains when almost nothing is said?

Dispersal Trace and the Language of Minimal Gesture


White on white. Grey on grey.
Not silence — compression.

Every soft tone presses against another.
You think it’s empty.
It’s just quiet.

– Ego Klar

Have you ever experienced a piece that felt unfinished, but in a good way? Dispersal Trace may not offer clarity, but perhaps that’s what makes it linger. I’d love to know how it resonates with you.

Abstract digital artwork by Denis Leclerc titled Digital Fragments 420, featuring layered textures in cream, slate, rose, and black tones from the Ethereal Solid series.

Digital Fragments 420

Posted on | by Denis

Exploring Gesture, Erosion, and Visual Tension

Digital Fragments 420 expands the Ethereal Solid series with a dense and shifting composition. Layers twist and blur, creating tension between weight and lightness. As the image unfolds, the piece pushes digital abstraction toward a state of collapse. Moreover, it also joins the wider field of contemporary digital art, where gesture, code, and material illusion meet.

Material Tension

Subtle greys, faded blush, bone white, and deep black build a muted palette. These tones evoke the sensation of fabric, skin, or rock, yet they remain elusive in terms of a clear identity. In fact, illusion replaces solidity. What appears to be physical texture is shaped through layers of digital mark-making. Therefore, the contrast between surface and illusion gives the work its energy.

 Challenging Decorative Abstraction

Unlike many digital works, this one resists smoothness. Instead, it breaks expectations without rejecting beauty. Its appeal lies in fracture and erosion, not gloss. Consequently, it fits into a current of abstraction that values friction over polish. This image chooses deliberately ambiguity over clarity.

Digital Fragments 420 and Its Work In Progress Origins

The first version appeared in Work In Progress – Digital Fragments 420. While some of that raw energy remains. The final piece doesn’t resolve it. Rather, it holds on to the idea of becoming. As a result, this openness defines the Ethereal Solid
series — each image stays incomplete, a captured fragment.

Digital Fragments 420 in Motion

In this version, the animation extends the visual language of Digital Fragments 420, unfolding its textures through time. Gentle pulses and shifting layers reveal new tensions embedded in the image. What appears still in print begins to breathe on screen.

This is not a secondary adaptation but an integral dimension of the work. Each piece in the Ethereal Solid series is conceived for digital environments — not only to be viewed on screens, but to inhabit them. In line with recent currents in screen-based art and post-Internet aesthetics, these fragments resist objecthood. They behave more like presences than products: animated, ambient, temporal.

In this context, animation is not about narrative. It is about materiality. Motion becomes a form of digital mark-making, echoing the gestures of painting but suspended in code. This hybrid state — between static image and temporal experience — defines the visual tension at the heart of Digital Fragments 420.

Print Formats

This piece is available in three sizes through the Unique Editions – Dimension Collection. Each print is produced on museum-grade Hahnemühle paper using Giclée technology:

  • Miniature Marvel – 12 in wide, variable height – 504 $
  • Grand Gesture – 24 in wide, variable height – 1024 $
  • Monumental Piece – 36 in wide, variable height – 1924 $
Work in progress image of Digital Fragments 420 by Denis Leclerc, early stage of an abstract composition with a central void, fragmented forms, and layered pale and dark textures.

Work In Progress 3

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Work in Progress – Digital Fragments 420

Digital Fragments 420, a work-in-progress, draws on an unexpected source: The Women of Amphissa by Lawrence Alma-Tadema. I deliberately borrowed the palette from this late academic painting—ashen whites, rosy browns, steel blues—and re-injected it into a fully abstract composition.

A dynamic emerged early on: an almost organic void at the centre, around which the forms seem to drift or disintegrate. This visual hollow interests me — it acts as a counterpoint, a negation of the full.

Another phenomenon holds my attention: the bands of white at the bottom of the image. They play an ambiguous role — at times a plane of light, at other times a surface of rejection. Depending on the viewer’s gaze, they can shift toward an overexposed background, creating an unstable spatial illusion.

The more I look at this piece, the more I sense an underlying chaos. Nothing feels fully resolved. Fragmented forms orbit, hesitate, unravel. The white areas themselves seem poised to invade the space or withdraw abruptly. This tension feels essential. It also unexpectedly echoes specific passages in Borduas’ work, not as a quotation, but in the way white can act as a living, breathing material within the pictorial field.

Reflection in progress

This painting by Lawrence Alma-Tadema was not a direct reference when I began this fragment. However, it resurfaced during a recent reading, and I found myself drawn back to its textures — the veils, the fabrics, the skin rendered with such precision. I wondered whether these tactile qualities might serve as a starting point for an abstract exploration.

I must also admit: the technical mastery of Alma-Tadema remains impressive. Yet my intent was not to replicate or quote. Rather, I sought to transpose the sensory density of those textures — their softness, their layered presence — into a new visual language. Through this fragment, I am testing how much of that material resonance can survive when the figurative scaffolding is removed.

The white already speaks to you — listen to what it refuses, and to what it offers. It is neither background nor form: it is a threshold. If it repels, let it repel fully. If it draws in, let it draw in. The central void, the underlying chaos, the bands of white — all these are part of the same inverted breath. Let the instability breathe. Borduas is not a model, but a reminder that chaos itself can be a material.

— Ego Klar