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.
Geoff's #1, silver, laser etched mirror, velvet acrylic with sticker PVC frill, dimensions varied.
Clare Gemima is an artist and writer from Aotearoa, based in Manhattan, New York. 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. Using materials such as metal mesh, TV screens, adhesive, laser-cut perspex, fabrics, digital design, textiles, and paint, her work glamorizes sobering psychological concepts, explores nostalgia, and illustrates self effacing narratives in unabashed kitsch.
Recent exhibitions include: Gold (Antoinette Godkin, New Zealand), A Private Viewing (charmoli ciarmoli, New York), To know the earth through roots (Field Projects, New York) and A Suitcase Project, Picture Theory, New York/Vienna)
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