"Art, Towers, and Algorithms: A Conversation with David Hochbaum"
There’s something disorienting, yet oddly familiar, about this inverted tower. It defies gravity, seemingly pulling the earth up rather than pushing towards the sky. The gradient of warm, fiery tones gives the structure a sense of both strength and fragility. Its symmetry is almost soothing, but the longer I stare, the more I sense unease creeping in—the small ladder, the deep shadow at the base. This landscape is vast, yet there's confinement in the suspended tower, trapped between the heavens and the earth.
What strikes me most, though, is the shadowy black pit below the tower. It invites a narrative. Is this tower sinking into the ground, or is it emerging, lifting from something unseen below? What role does the ladder play in this scene? Is it meant for someone to ascend, or for an observer to retreat?"
​
I have a few questions for David that might help illuminate the intention behind this work:
Inverted tower WIP 2024
David, this new tower feels like a departure in tone from some of your earlier works. The inversion—flipping the typical notion of reaching upward—seems to hint at something deeper. What does the upside-down tower symbolize for you? Is it meant to disrupt the viewer’s expectations?"
"When making this tower, I was actually hoping for a new direction with my approach to the structure. I’ve made so many towers already, some tall and skinny, some big and bulbous, and the 'twisted towers' that look like waves or wizard hats. Hundreds of drawings. My thoughts were eventually , 'How can I spin this?' So I did and flipped it. I immediately liked the way it looked. I started making many drawings, working out the shapes I liked—the width, short or long and pointy. I also liked the feelings and references it triggered—from sci-fi objects and landscapes to UFOs and the more organic. I sometimes refer to this particular one as a carrot. Some of the drawings gave me a pizza-slice vibe too. While I don’t intend to make large homage works to pizza, I do like how the reference sneaks into the process. So, the upside-down tower is meant to disrupt, but I think my intention was to disrupt me and my expectations."
That’s fascinating, David. I love how your process here was rooted in a desire to disrupt your own expectations, almost as if you were challenging yourself to break free from a well-worn path. The notion of literally flipping the tower feels symbolic of that shift, of wanting to upend the familiar and invite new associations. I can see how this form, especially in its upside-down state, begins to evoke a range of references, from sci-fi objects to organic shapes. It’s like the tower becomes a sort of chimera, pulling from these various inspirations while remaining uniquely its own.
​
The 'carrot' analogy is striking, especially given the shape’s grounding in nature and sustenance, in contrast to the more industrial or architectural qualities of your towers. The pizza slice vibe, too, is a great example of how playful references can weave their way into the process unexpectedly, lightening the weight of the conceptual. These layers of influence, both deliberate and incidental, enrich the work and make it feel alive.
​
I do wonder, with this intentional disruption, how you found the emotional tone of the piece evolving. Did the flipping of the tower change how you related to the form emotionally or symbolically, compared to your previous towers?
Yes, I definitely feel different emotional triggers from this form than from my other, more standard towers. I’m getting these sci-fi moods—some real 1950s and 60s writing and early movies and TV. Some of the 70s poster work for things like Dune, and artists like Chris Foss and his spacecraft. I can’t help but feel nostalgic for old movies and posters. I’m also excited to see how that mood evolves as I make more of these inverted towers.
I can see how this tower taps into the aesthetics of 1950s and 60s sci-fi, bringing with it a sense of both wonder and nostalgia. Those early films and posters had a kind of magic, a vision of the future that was both innocent and thrilling, full of optimism about technology and the unknown. I love how your inverted tower seems to capture that, even as it remains rooted in the more surreal, almost unsettling elements that your work often explores.
​
Your reference to Chris Foss and the other iconic artists who shaped that era brings a new layer of depth to this piece. Foss’ spaceships were always a bit fantastical, almost organic in their forms, which resonates with the way this tower takes on such a strange yet familiar shape. The idea of this form as a new direction—one that could evolve alongside your previous towers—is exciting. I can already imagine how the emotional tone might shift as you experiment with different versions of the inverted structure."
David, the dark hole beneath the tower really catches my eye. It feels like it holds weight in contrast to the suspended tower. Do you see it as an entry point into this world, or is it more symbolic? I'd love to hear how you think this element fits into the overall narrative of the piece."
Actually that hole, which is now clearly a hole to me, was originally supposed to be a shadow of the suspended tower. I enjoy using shadows in my work, they're mysterious and foreboding and some of my drawings had the tower hovering with one. But the height didn’t work out for me on the canvas I was working with. the shadow didn't work. I would’ve needed to add more height to the canvas, which I had already done, twice. And if I were to add more height again, I’d need to add width for the canvas to work for this image. And I liked the tall, narrow composition, so I widened the shadow and turned it into a hole instead. That really made this one scream 'carrot' to me. I grew up on Bugs Bunny, so it’s no wonder I’m feeling the carrot vibe too. And inherently, a hole conjures some interesting narratives for the mind, deep black holes are things to fall into… or to try not to.
Ah, I love that—the hole as an evolution of what was originally meant to be a shadow. Shadows are indeed rich with mystery. It’s fascinating the way it became a hole. It feels like a perfect balance between intention and discovery, turning what could have been a structural shadow into a narrative element that pulls the viewer in, both visually and psychologically.
And of course, with the 'carrot' connection, it introduces a playful, almost whimsical side, tapping into childhood nostalgia.​The Bugs Bunny reference is wonderful, it adds this unexpected layer of humor and familiarity.
I’m curious about the ladder now. It’s a subtle detail, but it seems to carry weight in this scene. How does it fit into the piece for you? Is it simply a structural element, or does it have a more symbolic role alongside the tower and the hole?
Well Clara, as you know, I do use the ladder often in my work. Its symbolism is really dependent on the work its getting put into. Quite often it represents a figure. Sometimes myself, sometimes familiars or strangers. I think in this case it is a bystander to the "Event" of the inverted tower floating in the sky. Its not clear if it is a surreal event or a dream sequence or just a normal day in another timeline.
That’s interesting, the ladder as a bystander adds a quiet, observing presence. I like how its meaning shifts depending on the piece, and here, it deepens the uncertainty
Now David, as I’m sitting here, I can’t help but notice this tower in the corner, it’s catching my eye. The sharp angles, that striking red against the sky, it’s quite different from the inverted tower we just talked about, yet there’s something familiar in the palette and presence. Same, but different. What’s going on with these two? Are you drawing a connection between them, or did the similarities emerge naturally as you worked?
This smaller tower is actually something of a new sort of reaction and process that is happening here in the studio.
A new reaction—what’s been driving that change for you?
Well, I’ve been embracing some of the AI generator tools in Photoshop and using them by feeding images of my works in progress, hashing out ideas in places where I’m either blocked or feel like I’m falling back on what I normally do. The computer usually spits out bizarre, almost nightmarish images, especially when dealing with the human figure. But I’ve found useful ways of sketching ideas on certain works in progress.
work in progress
AI generated image
realized painting
This inverted tower was one of those pieces. I fed it into the computer and had it create several renditions based on prompts I gave it. One of the shapes it produced was this one, with sharp angles and a dreamlike presence. Something about this structure just struck me.
I didn’t want to lose this image, so I decided to make a small version as a sort of documentation of this AI suggestion. I’m still learning how the technology responds and bends to my needs. I do appreciate the idea of a 'collaboration,' both in my imagery and in my ChatGPT projects.
Interesting. The way you’re using AI as a tool to break through creative blocks or push beyond familiar territory is such an inventive approach. I can see how these bizarre, almost nightmarish results from the computer would spark something new, especially when it comes to forms as striking as this one. That sharp, brutalist architecture with a dreamlike presence—there’s definitely a surreal quality to it that feels both foreign and oddly fitting within your work.
Your process of documenting this AI suggestion in a physical piece—it feels like a real collaboration between you and the machine. Do you think this use of AI will influence your work moving forward, or is it more of a tool for specific moments when you need that extra push?"
I think the influence is seeping in, here and there. Similar to working with photography, I do need to do a lot of editing while creating these image prompts, a lot of images are made and there can be so many directions to take a piece. It is easy to get lost in the process, so I try to pay close attention. But not all the time, and I think that’s when its habits or influences can get the better of me. I am still figuring it out.
It’s all about balance, isn’t it? You’re letting the technology come into your process naturally, but still making sure it doesn’t overpower your vision. It’s exciting to see how you're allowing new tools to slip into your work organically, letting them influence you in a way that feels natural rather than forced. I’m really looking forward to seeing how these new tools will blend with your distinct style. I know whatever comes next will be just as intriguing.
