My Story becoming RIKXECOM

With parent from each side of the Canadian/American border make for a fascinating background history in my family.

Being a descendant of J. Adelar Godbout on my dad side of the family, he was the 15th Premier of Quebec, adds a historical and political dimension to my heritage.

His notable achievements in winning elections and serving as a Cabinet Minister and later as a Senator in Canada contribute to a legacy of public service.

Moreover, the influence of my Parisian mother, with France's art-engraved DNA, the Corbeil were born in France {E. U.} it was also her family maiden name, located in France 17.6 miles South of Paris, it does add another layer of cultural and artistic identity.

It's evident that inherited a natural inclination towards visual art, and my journey spans over half a century, transitioning seamlessly from the film to the digital era.

Using various tools such as computers, design tablets, and multiple software programs highlights my adaptability to evolving technologies.

Dedication to months of artwork creation, is a deep passion and commitment to my craft.

It's a journey that encapsulates not just the evolution of artistic tools but also the changing landscapes and possibilities within the art world.

RichaR GobouT d/b/a RIKXECOM medium of choice has been wide and varied, over the years, striving to create meaningful pieces of art that spark joy, imagination and exploration.

My artwork is often a reflection of my spiritual journey and the power of the human spirit.

I believe art feeds our escape and strive to create artworks that will speak to the hearts of me & my viewers.

Each art piece is an expression of my subconscious and spiritual journey.

As a multi-disciplinary contemporary abstract artist based in Florida.

From a young age, I was inspired by my mother to explore the world of art and expression.

My passion for art led me to open my own studio in 1982, where I was able to express myself through a variety of mediums.

It's fascinating my background in the sign-making industry. Working at Metro Sign Shop with Mannie Kay during my teen years, and later having your own sign shop, Minneci Sign Design, my art skills dedicated to crafting signs was a plus, especially in the days of manual design using charcoal pencils and OneShot commercial oil paint, required a high level of artistic talent and craftsmanship to satisfy the local business owners.

It's evident that my passion and artistic abilities were put to good use, and my work likely had a significant impact on creating eye-catching and visually appealing signs for various business tri-county Palm Beach, Broward, Dade.

In addition to my artistic pursuits, I was also a youth chess champion by the age of 10.

Despite being diagnosed with Marfan’s Syndrome in my pre-teens and having many surgeries from age four for Harrington instrumentation and remarkable life changing triple N.D.E. events, this did not stop me from pursuing my passions.

I continue to combine my love of art, bringing my unique talents to the forefront of my work.

journey with me as I continue to share my creative expression, RIKXECOM's Digi Assist multi programs and hardware mix, capture the essence of visual art using a combination of Images made with the assistance of computer painting, using a variety of mediums to bring my art to life.

My artworks have been featured in a variety of mediums, from television to magazines and galleries.

Curated and/or Juried Artwork seen four times on CBS Network Television New York city, New York Photoville, London England the New Artist 5th Edition boomer gallery UK, Ontario Canada Publication Gallerium & The Book of Arts, Miami Published by Dynacolor post cards, Featured Artist Exhibizone Juried International Exhibition and much more. Published in Europe.

It is about embracing the little things art present, the simple pleasures that often go unnoticed in the hustle and bustle of our busy lives. So, pause, soak in the beauty of these still images.

Over half a century and constantly evolving as an artist I crafted creative exploration in two disciplines Naturalist & Abstract Art part of my cerebral escapism the visual that are truly unique.

My artistic upbringing early experiences with art. Learning and creating art under the guidance of my mother was a special and meaningful connection to the world of creativity.

3 years of studies at Cardinal Villeneuve, in 5, 6 and 7 grades les arts plastiques by Chateau Frontenac provided valuable insights and formal training in the world of art.

Also, at an early age I was taught to learn and experienced Transcendental Meditation a technique that promotes a state of relaxed awareness, stress-relief, creativity, and efficiency I uses a private mantra and practice for 20 minutes per day while sitting comfortably with closed eyes.

Very beneficial practice concentration practice.

The Rest of the story!

Meaningful Art for Joy and Exploration my artistic mission is to create meaningful pieces that evoke joy, imagination, and exploration.
This purpose is a desire to not only produce visually appealing works but to also elicit emotional and intellectual responses from viewers.
Reflection of Spiritual Journey my work often serves as a reflection of a personal journey. This adds a personal and introspective dimension to my art; it goes beyond mere aesthetics to convey deeper aspects of my inner self.
Inspiration from Human Spirit resilience of the human spirit serves as profound sources of inspiration for my work.
This thematic choice connects your art to broader, universal elements, creating pieces that resonate with the shared human experience.
Belief in Art as Escape I believe that art serves as a form of escape, allowing to transcend the ordinary and find solace and inspiration. This viewpoint positions my art as a means of providing a sanctuary.

Personal journey a summary:

Youth Chess Champion and Marfan's Syndrome achieving the status of a youth chess champion by the age of 10 is a testament to early intellectual prowess and determination.
The subsequent diagnosis of Marfan's Syndrome in my pre-teens presented physical challenges, but it did not deter me from pursuing my passions.
Persistence Through Surgeries despite facing the challenges of Marfan's Syndrome and numerous surgeries, my determination persisted. The surgeries and adjustments to metal rods from a young age required a profound level of resilience and strength.
Art as a Source of Surprise and Emotion my many approaches to art are not just about creation but about surprises and evoking emotion, an intentional and emotional connection with my artistic process, aiming to go beyond aesthetics and engage in a deeper level.
Variety of Mediums in Artistic Expression my use of a variety of mediums in my artistic pursuits is a dynamic and explorative approach to creativity. This versatility allows, to bring diverse forms of art to different audience.
Medical Journey and Archiving as a Marfanite it is a significant medical challenge missing fibrillin FBN1 Chromosome 15Q21, including the attachment of Harrington Instrumentation to correct scoliosis. The fact that my medical before & after X-Ray records and one curated artwork "RIKXECOM Cypress" are archived in the University of Kansas Medical Center's Harrington Archives adds a historical and personal dimension to my Marfan story.
Connection to Medical History my connection to the Harrington Archives at the University of Kansas Medical Center, especially in Dr. Paul R. Harrington's medical invention museum links my personal journey to medical history. It exemplifies the power of persistence, the triumph of passion over adversity, and the profound ways in which art and personal history can intersect.

RIKXECOM Photographic Heritage

The Analog Color Film / Pre-Drone Aerial Works

RIKXECOM Photographic Heritage: The Analog Early Series

Before the era of drones, RIKXECOM’s photographic vision was already taking flight.

In the early 1980s, long before aerial photography became widely accessible through digital technology, RIKXECOM (RichaR GobouT) was producing aerial images from helicopters over the Atlantic coastline of Southeast Florida.

Working under physically demanding and high-risk conditions, he photographed hotels, motels, and beachfront properties for use as commercial postcards capturing the region from above in a way that was both technically rigorous and visually striking.

Positioned at the edge of an open helicopter seat with no door and no restraint, his feet extended over the floor’s edge, RIKXECOM worked with a heavy solid brass camera body and substantial lens, relying entirely on manual control, balance, and precision.

These images were created in the true pre-drone era, when aerial image-making required direct physical courage, mechanical skill, and exact timing.

This early body of work, now recognized as RIKXECOM’s Analog Early Series, was produced using Kodachrome 64 positive slide film (35mm), with fully manual exposures.

The original color transparencies were later printed as postcards through two Miami-based companies Dynacolor Graphics Inc. and Great American Color Co., Inc. Using chromolithographic printing processes, these firms transformed the images into vivid, multi-colored postcards that documented Florida’s coastal architecture and tourism landscape with remarkable clarity and saturated color.

Dated 1982, these postcards are now considered vintage works, representing not only a commercial photographic archive but also an important chapter in RIKXECOM’s visual heritage.

They stand as early evidence of a lifelong engagement with framing, elevation, light, and the transformation of lived environments into collectible image objects.

Seen today, these pre-digital aerial works reveal the foundation of a broader artistic trajectory: one rooted in observation, technical discipline, risk, and a deep sensitivity to place.

They are not merely postcards they are historical documents, analog artifacts, and the earliest airborne expressions of the visual language that would later evolve into the contemporary multidisciplinary practice of RIKXECOM.

RIKXECOM's commitment to environmentally friendly practices and sustainable art creation.

Here's a summary of the eco-conscious elements involved in the production of my artworks:

Non-Toxic Acrylic Inks:

By opting for non-toxic acrylic inks, I prioritize the use of materials that are safer for both the artist and the environment. This choice aligns with sustainability principles and reduces the environmental impact of art creation.

Recyclable Materials for Artwork Frames:

The use of recyclable materials in the production of artwork frames is a sustainable choice. This ensures that the materials used in framing can be repurposed or recycled, contributing to a more circular and eco-friendly approach to art creation.

User-Friendly Soft Art Canvas:

The choice of user-friendly soft art canvas materials that are comfortable to work with while also being environmentally conscious. Materials that prioritize user-friendliness enhance the artistic process while maintaining sustainability.

Automated Workspace:

The use of an automated workspace signifies efficiency in production. This involves automated processes that contribute to reducing waste and energy consumption, aligning with a modern and sustainable approach to art creation.

Energy-Efficient High SEER-Rated Computers:

Opting for high SEER-rated computers indicates a commitment to energy efficiency. This reduces the carbon footprint.

Design Tablet, Drawing LCD Pads, and Computer Monitors:

The use of design tablets, drawing LCD pads, and computer monitors points toward a digital component in my artistic process. These tools, chosen for efficiency, contribute to a more sustainable and technologically advanced creative workspace.

Collectively, these practices reflect a holistic approach to sustainability, where choices in materials, production processes, and technology are aligned with environmental consciousness.

This commitment not only reflects a responsibility towards the planet but also contributes to the promotion of eco-friendly practices.

The Children Hospital Stryker Bed & The Birth of My Artistic Expression

Before I ever walked with a brace as a child, my earliest experiences with movement or rather, the lack of it came in the form of lengthy recuperation periods confined to a hospital Stryker frame.

After each surgical procedure, I spent weeks immobilized, unable to turn on my side, trapped between the limitations of my body and the constraints of heavy plaster-of-Paris casts.

The Stryker bed needed after every surgery (five total), a specialized rotating frame designed to keep my spine stable, dictated my world.

My position was limited to only two states: facing up or facing down.

I had no control over how I moved, no ability to adjust my comfort, and no relief from the rigid encasement of my medical restraints.

Every rotation was an event, carefully managed by caregivers to prevent complications in my healing spine.

Yet, despite this severe restriction of movement, when I was rotated to face down, a small opening below allowed me a glimpse of freedom: a tray table positioned within my reach.

It was through this modest opening this window to creativity that I first discovered art.

Drawing as an Escape

At just five years old, part of my world existed within the frame of that bed.

My body was trapped, but my mind was free, and art became my only form of self-expression.

With Prismacolor wooden color pencils and sheets of paper, I began to sketch, doodle, and create.
The aluminum metal tray table became my first canvas base; the only space I could physically interact on.
I would spend hours lost in colors and shapes, transforming the stillness of my body into movement through lines, textures, and imagination.

This process repeated itself five time each new surgical procedure brought another period of convalescence in the Children Hospital Stryker bed, another heavy cast, and another cycle of artistic refuge on my tray table.

Over time, I became so accustomed to drawing in this position that it felt as natural to me as walking did to other children.

Art: My Lifelong Companion to this day

While other kids played outside, ran, and explored the world through movement, I explored through art.

Instead of playgrounds, I had the limited space of my Stryker frame.
Instead of sports, I had the freedom of my pencil strokes.
Instead of physical adventures, I created worlds on paper.

This early experience shaped the foundation of my creative journey.

Art was never just a pastime it was a necessity, a survival tool, a way to reclaim control over my own narrative.

Though I would later transition to walking with a brace and eventually without as an adult, the months spent confined to that bed left a lasting mark.

The act of creating, despite restrictions, became ingrained in me. Even now, when my body imposes limits, my creativity remains boundless.

The Birth of My Artistic Language

My journey as an artist did not begin with formal training or traditional canvases it began in confinement, within the rigid frame of a Stryker bed, encased in plaster-of-Paris casts, unable to move freely for weeks at a time.

While other children discovered the world through physical exploration, I discovered it through art—not by choice, but by necessity.

From the age of five, every surgical procedure forced me into prolonged recuperation, leaving me trapped in a body that could not express itself the way I wanted.

But when I was rotated to face down, a small tray table within my reach became my world.

With color pencils and paper, I learned to create movement where there was none.
My lines were not just drawings—they were my escape.
The limitations of my body pushed my creativity beyond traditional forms, forcing me to reimagine space, form, and composition.

This experience became the foundation of my contemporary abstract style.

Unlike structured, representational art, abstraction allowed me to capture motion, tension, and emotion without the constraints of realism just as I had once created movement despite my physical stillness.

1965

rikxecom

Historical Influences:

Gilded Age Opulence: The grandeur and intricate details of the Gilded Age inspire the luxurious and elaborate aspects of my work.
Baroque and Rococo Movements: The dramatic, ornate, and exuberant style of these periods can be seen in my use of detail and rich textures.

Contemporary Influences:

Abstract Expressionism: The freedom, emotion, and spontaneity of Abstract Expressionism influence my bold and expressive approach.
Digital Art Innovations: The integration of technology and digital tools shapes the modern, futuristic aspects of my art.
French Pastries Aesthetics: The intricate and delicate designs found in French pastries, like Napoleon, inspire the marble-like patterns and layered textures in my work.

Cultural and Personal Influences:

Nature and Landscapes: The beauty and complexity of nature significantly influence my thematic choices and the organic feel of many pieces.
Marfan Syndrome: Living with this condition has deeply impacted my perspective, infusing my art with themes of resilience, adaptation, and the interplay between vulnerability and strength.
Les Arts Plastiques

These diverse influences converge to create a unique and innovative body of work that is distinctly RIKXECOM.

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RichaR GobouT d/b/a RIKXECOM occupies a distinct position within the early history of AI-assisted image creation, particularly in relation to the brief and now increasingly significant period preceding widespread platform-level guardrails, watermarking protocols, and the broader normalization of generative output.

The body of work produced by RIKXECOM during January through March 2023 emerges from what may be understood as a narrow but consequential technological interval a transitional moment in which publicly accessible image-generation systems remained comparatively open, unstable, and less constrained by the layers of moderation, aesthetic standardization, and output filtering that would soon become more common across major platforms.

Within that short window, he created a group of works that should be considered not simply as early AI experiments, but as artistically directed digital originals formed under conditions that no longer exist in the same way.

What distinguishes these works is not only their date of production, but the specific conditions of their making. They belong to a pre-guardrail phase in which model behavior, prompt responsiveness, emergent abstraction, visual anomaly, and compositional unpredictability operated with a degree of openness that has since been substantially reduced by later safety systems, watermark implementations, policy restrictions, and increasingly homogenized rendering behavior.

In this sense, these works are best understood as time-specific artifacts of a vanished generative environment objects whose visual and procedural character is inseparable from the technological moment that produced them.

Their significance becomes more compelling when placed within the broader arc of RIKXECOM’s practice. These works did not arise from trend adoption or opportunistic experimentation, but from a longstanding artistic engagement with energy, transformation, structure, and electronically mediated form.

Long before the contemporary AI image era, his practice had already established a sustained relationship to abstraction through photography, digital image construction, and a philosophical orientation grounded in the behavior of systems and signal.

As articulated through his own enduring proposition, “Life as we know it is nothing but a movement of electrons, and so is my art.” In this light, the January–March 2023 works should be understood not as a departure, but as a natural extension of an existing artistic logic into a newly available medium.

This continuity is further reinforced by the artist’s documented early technical formation. In 1978, at the age of seventeen, RIKXECOM independently designed and exhibited four functioning electromechanical demonstration projects for a Broward County, Florida vocational exposition, working with switch-based control systems, circuitry, alternating and direct current, and schematic presentation.

That early engagement with electricity, miniaturization, control logic, and the expressive potential of technological structure offers important historical context for understanding the later pre-guardrail AI works. Seen from this perspective, the 2023 body of work belongs to a much longer trajectory one in which electronically mediated creation has been central to the artist’s thinking for decades.

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RIKXECOM: Digital Process as Tactile Extension

Process Note

RichaR GobouT d/b/a RIKXECOM approaches digital image refinement not as a secondary corrective stage, nor as a substitute for material practice, but as a fully integrated extension of tactile authorship.

Within his broader contemporary abstract methodology, digital finishing functions as the equivalent of layering, surface modulation, metal texturing, pigment manipulation, and compositional restructuring a continuation of physical sensibility translated into electronically mediated form.

At the core of this process is a simple but essential principle: digital tools do not replace touch; they extend touch. For RIKXECOM, the screen is not merely a site of adjustment, but a space in which material intuition is rearticulated through light, signal, structure, and perceptual control. A sharpened contour may suggest resistance, tension, or worked surface. A softened edge may imply atmospheric drift, yielding form, or visual breath.

Variations in tonal density, transparency, and depth operate not as generic technical corrections, but as tactile metaphors digital equivalents of pressure, relief, layering, and surface interaction.

This orientation is central to understanding the authorship of the work. Adjustments in contrast and sharpness can evoke the ridged relief and structural resistance associated with metalwork or carved surface. Modulations in color temperature, saturation, and tonal balance carry emotional and psychological weight, extending the same expressive role traditionally held by pigment, glaze, or chromatic field.

The use of layers, transparency, blending, and selective focus creates digital depth analogous to the stratified spatial relationships found in multisensory and materially informed art practices. In this way, digital refinement becomes a form of visual construction rather than post-production in the conventional sense.

RIKXECOM’s professional enhancement process represents the final stage of authorship in which each work is brought into compositional, perceptual, and emotional resolution. This stage is executed with the same degree of intentionality one would associate with physical mark-making or surface intervention, ensuring that every adjustment contributes to the structural coherence, atmospheric force, and conceptual integrity of the final image.

The core visual enhancement process may include:

Brightness & Contrast
Establishing dynamic range, tonal architecture, and visual equilibrium.

Saturation & Color Temperature
Refining chromatic intensity, mood, and emotional continuity.

Highlights & Shadows
Balancing light distribution while preserving structural detail and depth.

Sharpness & Clarity
Articulating edges, micro-texture, and perceptual precision without distortion.

Cropping & Composition
Reframing the image to strengthen focal hierarchy, spatial tension, and narrative flow.

Transparency & Layers
Constructing visual hierarchy, interspatial relationships, and dimensional complexity.

Cutouts & Object Removal
Isolating, simplifying, or clarifying key visual elements where needed.

Blurring & Focus Control
Directing attention through controlled depth-of-field and atmospheric modulation.

Blending & Texture Integration
Unifying disparate elements into cohesive visual surfaces and compositional continuity.

Optimization
Finalizing resolution, DPI, and file structure for exhibition, publication, or print presentation.

Beyond these foundational procedures, RIKXECOM also incorporates a wide range of advanced image-processing techniques as part of his larger authorship framework.

These may include image straightening, precision free rotation, vibrance and hue control, RAW-specific noise reduction, metadata optimization, watermark integration, tonal curve manipulation, multi-level wavelet noise reduction, selective wavelet sharpening, white balance calibration, graduated filter applications, fill light control, and specialized perspective, framing, and shadow modules.

Such tools are not employed as routine presets or automated corrections, but as part of a highly selective and deeply intentional process of visual calibration.

What distinguishes this methodology is not the mere presence of digital tools, but the manner in which they are philosophically and formally integrated. Within RIKXECOM’s practice, digital refinement is inseparable from the larger conceptual concerns that define his work energy, structure, transformation, tension, atmosphere, and the expressive behavior of form. The digital environment becomes another site through which these concerns are shaped, tested, and resolved.

Seen in this light, the finishing process should be understood not as enhancement in a commercial or technical sense, but as a contemporary continuation of material intelligence a mode of making in which surface, depth, force, softness, resistance, and light are translated into a digital vocabulary without losing their tactile charge.

This continuity is especially important in the context of RIKXECOM’s broader artistic arc, in which electromechanical systems, photography, abstraction, and pre-guardrail AI-origin image creation all belong to a sustained investigation into electronically mediated creation.

As such, RIKXECOM’s digital process stands as an essential component of authorship. It affirms that the final work is not determined by software alone, but by the artist’s sustained capacity to shape perception, structure experience, and transform technical means into expressive form.

In this sense, the digital image remains fully aligned with the enduring philosophical proposition at the center of his practice: that life, image, and art are each manifestation of energy in motion structured through the movement of electrons.

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RIKXECOM's Art Studio

Overview: RIKXECOM's art studio is my dynamic space designed to foster creativity and facilitate the production of multi-disciplinary art. The studio seamlessly integrates traditional art-making tools with cutting-edge technology, reflecting my past and present work diverse influences and innovative approach.

Creative Zones:
- Digital Art Station: Featuring high-performance computers, graphic tablets, and digital drawing software, this area supports the creation of digital artwork and integration and also traditional methods.
Material Storage:
- Organized Shelving: Systematically arranged shelves and storage units keep all art supplies, materials, and tools easily accessible and well-organized.
- Climate-Controlled Storage: Ensures the preservation of sensitive materials like canvases.
Inspiration and Relaxation Areas:
- Library and Reference Section: digital resources for research.
- Relaxation: Comfortable outdoor seating with a view of a small tropical garden my own courtyard, providing a peaceful retreat for contemplation and creative breaks.
Exhibition and Display:
- Gallery Space: A dedicated area within the studio to display finished works and to visualize how pieces will look in an exhibition setting.
- Photography Setup: Professional lighting and cameras for documenting artwork at high resolution.
- Ventilation System: Ensuring a healthy and comfortable working environment by providing adequate air circulation, especially important when working with certain chemicals and materials.

Specialized Tools: (off site many different commercial companies for processing)

Epoxy and Resin Equipment: For creating high-gloss finishes and durable artworks.
Traditional Printmaking Presses: For techniques like etching, lithography, and screen printing in my old sign shop.
Metalworking Tools: For working with non-ferrous noble metals, in line with my unique artistic style.

Creative Atmosphere: (my dark space zone, no distracting lights, no windows)

Music System: Playing a diverse range of music to inspire and influence the creative process.
Personal Artifacts: Displaying personal items and past works that hold sentimental value and inspire new creations.

This setup reflects my commitment to blending traditional craftsmanship with modern technology, creating a versatile and inspiring environment for artistic exploration and production