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
Samantha
May
Marketing Executive
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me.
KAMALA FOR THE PEOPLE, 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
