Applications, 2016.
Ribbons on Clams, 2016 (1 of 3)
[Acrylic, Reverse Vinyl Graphic Print, LED. 500x500mm]
These 3 works have been created through an application on my phone, allowing arbitrary and impulsive design choices to be formally represented. Ubiquitous features found in applications allow a myriad of contrasting design preferences that currently over-saturate social media and infiltrate ways in which we view online imagery.
Photos previously taken and stored on my phone, or freshly photographed images are combined, which in turn creates a digital narrative captured by myself as the user. This also allows a protagonist role to be present within the work. Apps used to create compositions are chosen, at random, from my tool- box of design applications. This aspect further represents the personal and global immediacy in technology that we have insistently become reliant on.
Investigation into iphone applications as alternative art making tools, material utilization and translations of digital compositions becoming physical objects are three prevalent areas of research informing this final installation.
Currently in Chartwell Trust, Auckland Art Gallery, Toi o Tamaki, New Zealand.
Applications, 2016.
Ribbons on Clams, 2016 (1 of 3)
[Acrylic, Reverse Vinyl Graphic Print, LED. 500x500mm]
These 3 works have been created through an application on my phone, allowing arbitrary and impulsive design choices to be formally represented. Ubiquitous features found in applications allow a myriad of contrasting design preferences that currently over-saturate social media and infiltrate ways in which we view online imagery.
Photos previously taken and stored on my phone, or freshly photographed images are combined, which in turn creates a digital narrative captured by myself as the user. This also allows a protagonist role to be present within the work. Apps used to create compositions are chosen, at random, from my tool- box of design applications. This aspect further represents the personal and global immediacy in technology that we have insistently become reliant on.
Investigation into iphone applications as alternative art making tools, material utilization and translations of digital compositions becoming physical objects are three prevalent areas of research informing this final installation.
Currently in Chartwell Trust, Auckland Art Gallery, Toi o Tamaki, New Zealand.
all sketches are digitally created, and can exist as adhesives, image transfers onto silk
+ other textiles.
all collages are available as prints.
all dimensions variable.
Untitled, 2020
Inspired by grid textiles, sauce, and cheap Herald Sq. jewelry stores.
debris.png, 2020
Inspired by the limited amount of locations open during covid, Anne's Laundromat on first avenue, and self portraiture.
TBT (Tennis, Beer, Tits), 2020
Inspired by a solo-game of tennis on East 11th street at the height of the plague. A man watched me while he sipped his Modelo from behind the court's fence. He did so slowly, very slowly.
Palace Portrait, 2020
Inspired by my bedroom.
Judith slaying Holorfernes, 2020
Inspired by Judith slaying Holorfernes (1612-13) by Artemisia Gentileschi
Trash & Blood (NYC), 2020
N-Gin, 2020
Hand-Made Gesso, 2020
Trash & Blood (NYC) #2, 2020
Polkadot, 2020
Trash & Blood (NYC) #3, 2020
Tears on Canal, 2020
Trash & Blood (NYC) #4, 2020
Butterflies at the porn-store on 1st avenue, 2020
GIF
debris.png, 2020
KAMALA FOR THE PEOPLE, 2020
HUNTER DADDY, 2020
PENCE-DEMIC, 2020
Untitled (ice, blood & marshmallows), 2020
Texture Study (brick), 2020
Scooter's Ark, 2020
Snood.jpg, 2020
Butterflies at the porn-store on 1st avenue, 2020
STILL
Kaleidescopia, 2020
rat-dove, 2020
Palace Portrait with friends, 2020
GIF
Unititled, 2020
GIF
Met in Winter, 2021
flirting pre-vax, 2021
What the fuck are NFTs x Met in Winter, 2021
GIF
Scorp, 2020
