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.

Untitled, 2020

Debris.png, 2020

Walmart Chinoiserie, 2020

TBT (Tennis, Beer, Tits), 2020
https://www.claregemima.com/pixel-based-mosaic

Palace Portrait, 2020

Judith slaying Holorfernes, 2020

Soho Riots at CVS, 2020

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

five-cents per fly, 2020

Palace Portrait with friends, 2020

debris.png, 2020
This work comments on the degradation of the natural world due to climate change and its rapid take over. The speed in which plant and animal life are decreasing on planet earth has a frighteningly similar pace to digital intervention, image manipulation and glitch-embracing techniques utilized in this collage.
By easily adjusting layers that depict nature - seen here through use of foliage, waterfalls, historic relics and other plant life - the artist confronts how quickly digital and physical spheres employ destruction. Both online and offline landscapes in 2020 demand adjustment from those that participate in or interfere with its spaces. Everyone must adjust to our fast-paced, invasive and out of control world in order to upkeep technology’s advancements and nature’s best.

FUCK TRUMP, 2020

HUNTER DADDY, 2020

PENCE-DEMIC, 2020

Untitled (ice, blood & marshmallows),2020

Untitled (bus-stop riot), 2020

Texture Study (brick), 2020

Scooter's Ark, 2020

Snood.jpg, 2020
Snood.jpg was created with influences of 90’s console and online games like Crash Bandicoot and Minesweeper.
It incorporates a sheen that is familiarly digital while highlighting new and foreign nuances of 2020 from our real life. Through specially made graphics and internet borrowed PNGs, diet culture dangers and all sorts of other viruses have been collaged together to create a frantic and yummy obstacle course.
In its physical form, Snood.jpg is a mosaic made out of 48,000 hand-applied acrylic pieces. By use of an applicator tool and wax, each refracted square has been placed according to a symbol key. The chart of various symbols is derivative of every colored pixel found in Snood.jpg’s original form as a digital collage.
Snood.jpg took less than an hour to compose digitally, while its mosaic form took over 3 months to complete. The physical piece is currently held in a private collection located in the United Kingdom.
https://www.claregemima.com/pixel-based-mosaic
https://opensea.io/assets/0x495f947276749ce646f68ac8c248420045cb7b5e/31205668461238875560118284840605630397088758965228387502361049588584889188353

Butterflies at the porn-store on 1st avenue, 2020
STILL

Untitled (with friends), 2020

Kaleidescopia, 2020

Crocs, 2020

rat-dove, 2020

Palace Portrait with friends, 2020
GIF

Unititled, 2020
GIF

Scooter's Ark, 2020
GIF

Met in Winter, 2021

flirting pre-vax, 2021

What the fuck are NFTs x Met in Winter, 2021
GIF

Scorp, 2020

Mother of Pearl, 2021
