Tony Oursler | claregemima

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.

(l-r): January 16th 2019

Me using the term “manifesting” and being extremely corny. Cheque made out to me for $13.08 cents for driving back from Soho with toothpaste and emergen-c for Tony Oursler before he flew to Paris/Studio of Aluminium Mask and Glass Blown Sculpture/ Realising the still image you used in your proposal to get to New York comes from a video you find yourself transcribing as a studio assistant. Pretty unbelievable/ Corey with work being photographed for potential buyer, comprised of three miniature LCD screens, aluminium, metal base and LED laser.

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(l-r): January 22nd 2019

Work in progress shot with LCD screen beneath, mapping of video/ Mordern Pic of Modern Love by Constance De Jong in Tony's Library/ Photographing paper works in studio / Noticeboard imagery in office.

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(l-r): January 31st 2019

Screen-shots of various videos that were transcribed, mostly following the chronicles of extra-terrestrial theorist, George Adamski and his retellings of being visited by a Venusian creature called Orthon who he believed had long flowing hair, red-brown shoes and came in peace. Moving Image and VR

(l-r): February 14th 2019

Corey's router work from a fresh new painting, images of ingredients for a trip to Compleat Sculptor shop which sells everything from 3D moulding sculptures, prosthetics and high quality air-brushing paint.