We Have Something to Tell You is a series of abstract fantasies, layering desperate and collaborating blobby illustrated bodies, grasping and reaching towards something.
No Shortage of Bodies is a book and exhibition composed of a culture report and a series of photographs and paintings. The 2020 culture report makes predictions on how our collective relationship to images might change as we venture into a new decade. The photographs were sourced from the most popular stock photography website and the human figures from the photos were all digitally removed. The paintings reference the cropped figures and were completed while I commuted on the train for my own job in design/marketing.
“Each decade, we pore over data and signals from the world around us — strolling, scrolling, being scrolled past, there are so many insights to glean from our simple strolls — where we can see the next decade ahead unfolding. This decade, we’re going further.”
2020 - 2021
Over 3 hours of close-up, almost intimate, stock video of people’s faces. These are all of the close-up stock videos of people from a major stock website. Among the available available videos, whose likeness appears most often? This artwork is about power, our relationship to our own image, empathy, the market, and our culture’s reflection of whose likeness and narratives are most marketable and valuable.
Police sketches I make of everyone I meet. The drawings are made using an official police sketching software. An exercise in local data collection, the work is about power, a person’s right to their image, public space, trust, discomfort, and facial recognition.
A video about a surface level understanding of religion and deities. Every image of god from the Wikipedia page for "God" were blurred slightly, and collected into an e-book, which makes up the interior frame of the video. The video presents conflicting exterior and interior frames, along with conflicting audio and a barrage of philosophical text and personal rumination. The videos filling the exterior frame were the most popular free stock videos available on a particular high-quality royalty-free stock video website, acting as a sort-of catalog for humanity’s current cultural moment. The texts adorning the top and bottom frame are two separate streams of consciousness, changing with each page turn of the interior frame book.
Select frames are occasionally printed and exhibited.
Part of a series of lyrical digital vignettes of fictional objects. A work about ornaments and decoration, pulling from corporate stock objects used in an advertising day-job. The objects made for 'Excuse Me, I Have Work to Do’ are investigations into what-ifs.A show I want to make, but can't, and would never. A stone made of molded coal, burned from... A bouquet from.... eh..... nevermind...
2018 - Present
It's so crowded, so stuffy in here. Paintings and crowds digitally manipulated ad infinitum.
2020 - Present
A net-art piece featuring a short interactive allegorical chatbot. Intended to be the type of website you might stumble upon, engage with briefly on your private computer, lightly contemplative and private, maybe a little strange, and you might wonder "was that art?"
Meditations on awe and the ordinary. Stock photography of horizons with added glowing squares.
*Title from Emmy the Great's "Easter Parade"
2020 - Present
Gestural distortions within empty contemporary art spaces bending the architecture into and onto itself. Installation shots are a show of power and this sortof contextual reconfiguration creates some fun new sets of expectations. In the end, New Work is art about art, and is art about infrastructures as assertions of power.
2015 - Present
A collaboration with Amber Eve Anderson ↗. In this collaborative work, we reflect on our conversations about labor, class, and access to leisure and public spaces, as understood through the limits of capitalism. The work is an archive of the public parks within a 1-mile radius of our home and a selection of painted figures from stock photography and the Wikipedia pages for Labor and Leisure. The archive also functions as a printable document that invites viewers to cut out and arrange the figures and green spaces enacting notions of both labor and leisure.
Proudly made for the_openroom: PLEASE TOUCH THE ART ↗
Toeing the line of digital producer and curator, It’s Nice Out Here is a show I curated and developed a new exhibition framework for. As an online exhibition where most anything is possible through implied fictions illustrated through manipulated photography, video, and text, I “installed” the artist’s work by photoshopping (or, digitally inserting) the artist’s images into emptied press photos from international galleries and museums. The work is all real, but exists as digitally rendered documentation images of one huge imagined exhibition. Out here, artists imagine images as sites of possibility. The work exists between the implied physical spaces / psychic space of the viewer and the limitations of technology and screen augmented reality. The work is sprawling, ambitious, and unlimited.
It's Nice Out Here was a pavilion of The Wrong Digital Art Biennale ↗.
Exhibition was available from November 1, 2019 through March 1, 2020.
Exhibition Spac.es started in 2016 as a free database of high-resolution emptied contemporary exhibition spaces and frames, as well as tutorials and resources. This online database serves as a resource for other artists, curators, or students, to establish their online and documented presence. The images and resources are published under the Creative Commons Zero license (free to copy, modify, distribute and use the photos for free, including commercial purposes, without asking permission). As a young artist, I believed that installation shots were a show of power and frame images within a new set of expectations - no longer is the image simply a digital image to scroll past, but in the psychic space of the viewer, the image tells a story of an art object that asks to be considered with a new weight. The implied object never delivers on the promises of its potential, but also doesn’t need to.
2016 - Present
Part of a series of artworks made as pieces of a proposal for a solo show I wanted to have, but never did. The show would have been about time, corporate and neoliberal aesthetics, western art history, and the limits of my production.
2019 - 2022
For this work, I bring a pair of counterfeit Apple Airpods with me every time I go to New York City or California. While waiting for the subway/metro during or close to rush hour, I fake a stumble and drop the counterfeit Apple Airpods on the tracks. In faux-frustration, I dramatically throw the counterfeit Apple Airpods charging case into the closest trash-can. I pause, close my eyes, take a deep breath, and pull a new counterfeit Apple Airpod charging case out of my pocket. I place the second counterfeit Apple Airpods into my ears and carry on with my day.
Semi-Permanent Installation in the bathroom of the Israel Museum, Jerusalem.
"Lassoing Wild Horses was the first sculpture in the Met’s collection to be made available for viewing online in 360°. The classic Western bronze calls to mind dusty expanses, uncharted terrain, and the quintessentially Western ideas of conquest and control. In Seeing Lassoing Wild Horses in 360°, Josh Sender defamiliarizes those concepts by 3D scanning the digital object as he turned it around in virtual space. In this way Sender was able to ‘own’ his own iteration of the bronze, yet at the same time he dismisses the notion of exacting documentation in favor of abstraction. The resulting point clouds and wireframes call to mind Rorschach tests or faraway islands—forms that encourage one to wander between knowing and the unknown."
2018 edition published by and available for purchase from Ctrl+P ↗
6″ x 9″, 72 pages, perfect-bound
YesYes was a temporary and fictitious design studio website. Projects fulfilled service expectations, but were commercially empty.
It Was All Very Impressive I only existed online for a day in 2016 as a series of digital artworks loosely broken down into chapters. Since then, the documentation of the temporarily available website has been made available as a short film in screenings and online, as well as a printed edition.
'It Was All Very Impressive II' was only ever accessible as a projection within a physical gallery space back in 2016. The mouse cursor couldn't be controlled by the user, and rested in the middle of the screen as the website was programmed to automatically scroll and display its sub-projects one after another. One sub-project was a constantly rearranging digital museum whose collection contained every 3d-scanned object made available online by major art institutions. Another was a series of generated digital paintings composed of randomly layered fragments from the digital museum. The next two projects were composed of digital forms floating across the screen. 'It Was All Very Impressive' looked to create a lineage for this body of 3d-scanned objects, one that exists alongside and perhaps in lieu of, its current proposed history.
'It Was All Very Impressive II' was broken down into four parts:
The Museum of Translated Objects
Rearranging Website, Digital Archive
The 'Museum of Translated Objects' is a digital museum archiving every 3D object made available online by major art institutions. The 'Museum of Translated Objects' utilizes a rudimentary process for re-scanning the 3D digital objects made available. The objects are re-scanned by being photographed in 360° directly from a computer screen and the photos are photogrammetrically stitched together to generate new 3D spatial data, or new 3D objects. These new objects make up the collection of "translated" objects, and are made available in order to extend the objects' journeys through history.
Artifacts, Published Works
Rearranging Website, Randomly Generated Images
Every 40 seconds 'Artifacts, Published Works' is refreshed, randomly layering fragments pulled from the 'Museum of Translated Objects' creating a new series of unique combinations every refresh.
Mirage, or, I am Large, I Contain Multitudes
Like in 'Artifacts, Published Works,' the images from 'The Museum of Translated Objects' is the generative source for this project. The objects from the museum collection are positioned in fabricated exhibitions, creating an index of potential.
That Old Present Tense
'That Old Present Tense' looks to fill the spaces in-between. Automatically scrolling websites with layering screens, books and prints.
Merry Happy Year is an exhibition I put together featuring 9 films, 1 audio recording, and 2 images stored on a single flash drive. An edition of one was created for a 2017 holiday gift exchange. Outside of the gifted flash drive, the "press release" is the only public-facing documentation of the exhibition.
Stock images, screenshots and other photographs on borders and on edges as digital objects.
depths, borders, bridges, gates, lids, pages, divider, between,
edge of the woods,
– between sleeping and waking
Printed in the risograph publication "Pothole" edited by Amanda Curreri and Jordan Tate
The digital images and artworks made for 'Oy! On Time!' were made as pieces of a proposal for a solo show I wanted to have. 'Oy! On Time!' was held in two parts: on the browser— where one can look privately, the weight of the work heavier, offering itself as more contemplative and private, and in a gallery space— as cheap xerox transfer prints, poor translations of the digital ideal.
The works in 'Vie Vying' start as a small digital textures, a few pixels at atime, collected from selections of digital representations of impactful artworks and images from across histories and cultures. The textures are edited and multiplied and positioned in graphic design corporate mockup templates, giving them a distinct semi-recognizable shape and an implied physical form.
Layered appropriated marks from the some of the most expensive paintings in history.
Photographs were created by picking fragments from the first listed image on the wikipedia article for 'Monument.' The first photograph is of a Harvest Moon rising over Washington’s Lincoln Memorial, Washington Monument, and US Capitol. Each fragmented image’s field was digitally expanded on, positioning it in a new focus as something much smaller but grander. Look on my works, ye Mighty, and despair!
Images selected from the Web Gallery of Art's search results for 'Martyr' were put through a process of digital reduction, focusing on the shapes of the bodies, but stripping the images of any historic specificity.
See the digital collection (21 images)
$$ landscape is made up of dense overlapping drawings of the most expensive buildings in the world.
Nameless portraits from throughout 15th to 19th century European art are reduced to simplified ink drawings, and then further reduced as only a 'digital selection,' barely separating the drawing from the white space of the webpage. The 'digital selection' is used as an allusion to designate something that doesn't wholly exist or hold form. The portraits are diminished to how we might view them now, as aesthetic husks of lives and memories that weren't quite influential enough.
"His online series Everyone Looks So Familiar, shows a set of Renaissance and Baroque figures rendered in the flickering line of a capture tool. All other pixel information is removed and we are left with the equivalent of a digital x-ray of these images. These works use the data of imagery to raise issues of reproduction in the digital age and the future (and perhaps unstoppable) predominance of online experiences with artwork." — Gregory Thielker, mentor ↗
The mural portion of Contrived Permanence is a composite drawing that consists of fragments of eight historical monuments that were built as memorials. The mural is paired with a set of postcards that pull directly from sensationalized quotes describing the source monuments.
Solo show consisting of 6 ink wall drawings, a projected animation and a supplemental zine. "Unpublished Stories is an installation of wall-based paintings, which function as visual quotations from western art history and news images, as well as a series of lyrical gestures. The objective in this series, however, is the limited use of media, which recalls paint tools from Adobe Illustrator. In one overlapped portrait, there are three variations on the same face done in Cyan, Magenta, and Yellow." — Gregory Thielker, mentor ↗