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.
Clare Gemima IS AN ARTIST AND WRITER FROM AOTEAROA, BASED IN NEW YORK CITY. SHE HOLDS A BFA IN SCULPTURE, AND RECEIVED THE 2017 WIKIRIWHI SCHOLARSHIP FROM WHITECLIFFE COLLEGE OF ARTS AND DESIGN IN TĀMAKI MAKAURAU, AOTEAROA.
HER STUDIO PRACTICE ENCOMPASSES SCULPTURE AND COLLAGE THAT DELVE INTO THEMES OF LOSS, GRIEF, AFTER-LIFE, UNREQUITED LOVE, AND MENTAL COLLAPSE. UTILIZING MATERIALS SUCH AS METAL MESH, TV SCREENS, ADHESIVE, ACRYLIC, LASER-CUT PERSPEX, FABRICS, DIGITAL DESIGN MEDIUMS, AND PAINT, HER WORK REFLECTS ATTEMPTS TO BEAUTIFY SAD OR SOBERING PSYCHOLOGICAL CONCEPTS IN KITSCH.
RECENT EXHIBITIONS INCLUDE: GOLD (ANTOINETTE GODKIN GALLERY, NEW ZEALAND), A PRIVATE VIEWING (CHARMOLI CIARMOLI, NEW YORK), AND TO KNOW THE EARTH THROUGH ROOTS (FIELD PROJECTS, NEW YORK).
AS A WRITER, SHE REGULARLY CONTRIBUTES TO PUBLICATIONS SUCH AS: ARTEFUSE, CONTEMPORARY HUM, ART NEW ZEALAND, BROOKLYN RAIL, TWO COATS OF PAINT, WHITEHOT MAGAZINE, EV GRIEVE, AWT, WIDE WALLS, FRIEZE, PASSING NOTES, NEW WOMEN NEW YORK AND ARTSY. FOCUSSING ON BUILDING SCHOLARSHIP FOR IMMIGRANT, WELL, AND LESS KNOWN ARTISTS, BOTH IN NEW YORK AND INTERNATIONALLY.