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.
Tiger King, and other regrets from Oklahoma, 2019
Shown as part of the The Patriot at O'Flaherty's gallery, 2022
Tiger King, and other regrets from Oklahoma, 2018.
Spray, acrylic on Americana resined wood.
11 x 11 in.
Installation views:
Gallery visitors used flashlights to view the artworks that filled every square inch of O’Flaherty’s in the East Village of Manhattan.
Tiger King, and other regrets from Oklahoma, was shown in The Patriot at O' Flaherty's gallery,
PR: (2022).The most disappointing show for an artist to be in is a summer group show. You're slobbed together with a bunch of strangers who are totally unrelated to what you're about, the rich people are out of town, PLUS this gallery would probably never show you. Guess what. You thought you couldn't be in a more disrespectful group show and you were wrong. We literally took any piece of shit you brought in whether it was awesome or total trash and tried to make it an idea. The Patriot is a truly democratic show where everyone is treated equally like shit.
*All photos taken by Blair Leblanc, and Rebecca Smeyne for The New York Times