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.
its not unusual, 2023 & roses are dead, 2024
37 x 21 x 21
31 Artists from Vienna
31 Artists from New York
1 Suitcase
May 14–19, Picture Theory, New York
June 14–29, Kunstraum Super, Vienna
The suitcase as an exhibition concept can be associated with Daniel Spoerri‘s Der Koffer (1961) and Marcel Duchamp‘s La Boîte-en-Valise (1938-1941), among others. Spoerri saw the suitcase as a symbol and means of transportation to collect and exhibit objects from the Nouveau réalisme group. Duchamp, on the other hand, used a box to gather all his works like a miniature, mobile museum. ‘37x21x21’ borrows from both approaches. The suitcase is a practical means of transportation as it ships art to exhibit from Vienna to New York and back. What also takes place is bartering, the oldest form of commerce that historically sustained communities. In this transcontinental exchange, artists trade art for art.
Organized by: Markus Riedler & David Mase, Rebekah Kim
its not unusual, 2023. Acrylic, oil, pastel, glitter, lenticular, wood, velvet. 4 x 6 in.
