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.
Slain, 2018
Solo at MAYONEZ, New Zealand, Aotearoa. Curated by Lily Loh and Mariam Capsicum
On it, TV, video, LED Lights with gold mirror frame, 1189 x 481mm. Geoff's, silver, laser etched mirror, velvet acrylic with sticker PVC frill, dimensions varied.
On it, [closeup], TV, video, LED Lights with gold mirror frame, 1189 x 481mm.
On it, [closeup], TV, video, LED Lights with gold mirror frame, 1189 x 481mm.
On it, [closeup], TV, video, LED Lights with gold mirror frame, 1189 x 481mm.
On it, [closeup], TV, video, LED Lights with gold mirror frame, 1189 x 481mm.
On it, [closeup], TV, video, LED Lights with gold mirror frame, 1189 x 481mm.
On it, [closeup], TV, video, LED Lights with gold mirror frame, 1189 x 481mm.
Cub #1, gold mirror backing, laser cut velvet perspex, 580 x 330 mm.
Cub #2, gold mirror backing, laser cut velvet perspex, 580 x 330 mm.
Cub #3, gold mirror backing, laser cut velvet perspex, 685 x 360 mm.
Untitled, [closeup], silver, laser etched mirror, velvet acrylic with collage, dimensions varied.
Untitled, [closeup], silver, laser etched mirror, velvet acrylic with collage, dimensions varied.
Geoff #2, silver, laser etched mirror, velvet acrylic with sticker PVC frill, dimensions varied.
Geoff's #1 [closeup], silver, laser etched mirror, velvet acrylic with sticker PVC frill, dimensions varied.
Geoff's #3 [closeup], silver, laser etched mirror, velvet acrylic with sticker PVC frill, dimensions varied.
Geoff's #1, silver, laser etched mirror, velvet acrylic with sticker PVC frill, dimensions varied.
Slain presents a new experimental collection of works that speak to notions of body, form and grief that simultaneously grapple with the discomfort (and luxury) of human indulgence. This work acted as a research show to gain feedback and critical engagement as I continue to conceptually explore the natures of grief in a digital age. This is articulated from my own personal relationship with bereavement where nostalgic and childhood visual triggers are used to inform my formal decisions and methodologies. My recent bodies of work presents as sculptural forms made of acrylic that are referential to organs and body parts where humans may feel grief viscerally, as well as videos, etched surfaces and light installations to visually illustrate an alternative understanding of grief. Using sound as a supplementary tool also creates an implied auditory resonance of this idea. Through further research, I wish to focus my understanding around how to entice viewers through all senses, while continuing to work within a kitsch and post - internet aesthetic.
*All photos taken by Paris Curno.