Tabor Robak. Robak uses programs like Photoshop, After Effects and Unity3D to create densely rendered digital worlds that riff on everyday objects. He’s currently exploring illustrations on transparent screens in the second edition of his work Newborn Baby.
Art in the Age of Anxiety conjures the bombardment of information, misinformation, emotion, deception and secrecy that invades online and offline life in the age of digital technology. It aims to illuminate the ‘post-digital’ condition—the manners and behaviours found in a world altered by the rise of digital technologies—and posits speculations for our future.
Wade Guyton, New York–based artist (b. 1972) has pioneered a groundbreaking body of work that explores our changing relationships to images and artworks through the use of common digital technologies, such as the desktop computer, scanner, and inkjet printer. Guyton’s purposeful misuse of these tools to make paintings and drawings results in beautiful accidents that relate to daily lives now punctuated by misprinted photos and blurred images on our phone and computer screens.
+ what is the line between a painting & printed images? his printer paintings speak purely of the machines, machines are supposed to make the identical, the reproductions , but each is different as it has its own unique painterly errors, whether its intentional or off-alignment during the process. this really inspires me of blurring boundaries between genres of design + art
+ lets talk about the typeface!! im so familiar with different typefaces as each delivers an unique personality, function and nuance. he is using Microsoft BLAIR ITC MEDIUM, designed by The International Typeface Corporation, In the late 1960s the company was one of the world’s first type foundries to come out of the photo universe and not the metal type one. ITC represents more than 1,650 typeface design… to describe this type the artist chose: maybe its license-free, a well designed san-serif modern but still carries a nostalgic curve that look quite masculine.
the ” X ” he chose as the subject / ‘figuration’ in his works is ideal because it lends an almost human form to the piece, like a body with limbs…
In our world, the way we think and learn is through language. That’s how we organise our thoughts and give meaning to things. By removing a single letter from its context, this painting gives us an opportunity to question our associations.
possible associations of culture codes:
Kiss; (two lips “crossing over”)
Generation X ;
x-axis = The horizontal axis;
Crossing, errors and Don’t;
In algebra to mean a variable + unknown constant;
Ecstasy, a particular street drug;
Forbidden +18 things;
Ten in Roman numeral
+ it aligns with in ways i use my ‘x’ in my own branding and name! firstly its my initial, other than the symmetric look — power of the character lies in the method by which it is drawn — it crosses space, it marks time, it defines confluence, things come together, intersect then depart, it flattens the dimensional and it creates visionary form where the imagination strikes.
Konrad Wyrebek, UK. The artist paints mostly in oil and acrylic. He usually always starts with the images he finds online. The resulting work of art interrogates the medium on different levels. From a formalist perspective, Wyrebek references the Neoplasticism of Mondrian and the Cubism of Picasso by exploring the fourth dimension in art seen in a contemporary context as the post-internet realm and the abstract potential of electronic images. However, by introducing the synthetic use of machines in his process and leaving the viewer to question the hand of the artist, Wyrebek challenges the boundaries of painting by raising important questions about the artist’s originality and the role of technology in contemporary art.
Process: Each image is pixelated through a succession of digital compressions with deliberate settings causing corruption of data in transfer between different softwares and devices.
Transformation interests me – how people or things can change, but particularly how we can make them change from our viewpoint. As I spend time with the found image, new thoughts and possibilities are evoked and I experiment with potential additions, deformations and changes that will become part of a transformed image.
+ similar to artist Dan Hay, Wyrebek depicts the manipulated/ corrupted images into large scale of man-labour painting. Differs the Hay, his paintings don’t particularly depicts the whole, but the mixtures of the digital presentation. He is abstracting the images by machine, compel viewers to search for meaning in the art work, not to merely look, but to really see.
+ the use of vanish in his painting while see in details creates a dynamic texture and lamentation comparing next to the matt paint in geometric distinction. the way he names his artworks are quite like codes / computer file names as well…
Marshall McLuhan, (1911-1980, Toronto), Canadian communications theorist and educator, he didn’t live to see the internet, i wonder how he thinks right now as he predicted the concept of the “global village”.
“The medium is the message” summarised his view of the potent influence of television, computers, and other electronic disseminators of information in shaping styles of thinking and thought. By playing on words and using the term “massage,” McLuhan suggests modern audiences enjoy main stream media as soothing, enjoyable, and relaxing; however, the pleasure we find in the MainStream media is deceiving, because since he changes between society and technology are incongruent, perpetuating an age of anxiety. His ideas of HOT / COLD medium is interesting: Print is hot. Television is cool. Mechanical tools are hot. Hand-wrought tools and software are cool. Hot media encourage passive consumption. Cool media encourage active participation.
—Art is whatever you can get away with.
—All media are extensions of some human faculty-psychic or physical.
The Medium is The Massage by Marshall McLuhan
— The medium is the message. This is merely to say that the personal and social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.
—The artist is always engaged in writing a detailed history of the future because he is the only person aware of the nature of the present.
—Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.
Understanding Media: The Extensions of Man by Marshall McLuhan
Dan Hay, British 1966. This large landscape painting is from a series based on images the artist found on the personal website of a man also called Dan Hays who lives in Blackhawk, Colorado, USA. In addition to using appropriated images rather than creating his own landscape compositions, the digitisation and subsequent manipulations of the electronically stored images are important elements in Hays’ working process. The pixelation heightens the differences between individual colours. Hays replicates this effect in his painting, squaring off the canvas and systematically applying small areas of colour which are matched to a digital section of the image stored in his computer.
The Colorado Impressions series is a response to the growing proliferation of information, particularly visual information, on the internet.
+ Using traditional method to paint the digitally sourced materials, and to be so realistic to depict a bad ‘ image’, with this sense of lo-fi quality in large scale, im guessing the result to see in the flesh would be phenomenal than the irony of seeing these on my digital screen…
Luis Toledo Laprisamata creates a surrealistic depiction of a women who is relatively gigantic comparing the golden figures on while they are all siting / chilling on the ground. The complexity of the image seem like arbitrary map of veins, road and highway, consisting a range of colour that appeals psychedelic and vibrant. In the digital collage, he finds his favourite discipline, which lets him put together in a more effective way, each atom of colour to create a vast universe.
In this image we see the codes of the size differences again, which indicates that there are two types of beings exisiting, the small two groups of being look like connecting to their god of for the ritual being held here. There are many codes and symbolisms, I can see a hourglass device; three symbols on the right side that look like some magic spell of hexagon; a stairwell to the gate of the dark universe. Thousands of biomorphic and little OP Art/ optical illusion components, constructing every figures and on the air in this frame. One of the ‘god’ has a big cat head, some kind of hybrids and imaginary creatures. They look like they are about to fight, is this an indication for the conflicts of the man vs the animal realm? The intensity of the complexity evokes so much power and an otherworld illusion.
Death, spirituality, necessity, beginning and end. Death is just one more step in which we abandon the skin to continue our existence with another form. The liberating end. Another aspect of life, so vital and necessary as life itself.
The use if images and aesthetics picked up from the past, mixed with abstract and contemporary forms, transport us into a un-timed territory; and in here, present, past and future mix in a symbolic reality.
“The camera isolated momentary appearances and in so doing destroyed the idea that images were timeless. Or, to put it another way, the camera showed that the notion of time passing was inseparable from the experience of the visual (except in paintings). What you saw depended upon where you were when. What you saw was relative to your posit on in time and space. It was no longer possible to imagine everything converging on the human eye as on the vanishing point of infinity.” — p18
When the camera reproduces a painting, it destroys the uniqueness of its image. As a result its meaning changes. Or, more exactly, its meaning multiplies and fragments into many meanings. — p19
“In the age of pictorial reproduction the meaning of paintings is no longer attached to them; their meaning becomes transmittable: that is to say it becomes information of a sort, and, like all information, it is either put to use or ignored; information carries no special authority within itself. When a painting is put to use, its meaning is either modified or totally changed.” — p24
“Cezanne made a similar observation from the painter’s point of view. ’ A minute in the world’s life passes ! To paint it in its reality, and forget everything for that! To become that minute, to be the sensitive plate.., give the image of what we see, forgetting everything that has appeared before our time…” — p31
Berger, John, and Michael Dibb. 1972. Ways of seeing. [London]: BBC Enterprises.
“Camera, by making the work of art transmittable, has multiplied its possible meanings and destroyed its unique original meaning.”
“Uninterrupted silence and stillness of a painting can be very striking, absolutely still, soundless, becomes a corridor, connecting the moment it represents with the moment of which you are looking at it.” — bbc ep1
“I’m an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. I free myself for today and forever from human immobility. I’m in constant movement. I approach and pull away from objects. I creep under them. I move alongside a running horse’s mouth. I fall and rise with the falling and rising bodies. This is I, the machine, manoeuvring in the chaotic movements, recording one movement after another in the most complex combinations.
Freed from the boundaries of time and space, I co-ordinate any and all points of the universe, wherever I want them to be. My way leads towards the creation of a fresh perception of the world. Thus I explain in a new way the world unknown to you.”
I came across Sarah Sze while browsing youtube channel GAGOSIAN, she is a contemporary American installation artist that uses mix-medium, collages, found objects and painting. What intrigues me so much is that Sze uses material to represent the digital texture / experience that her paintings look like glitch art. In contrast of Post-internet art that use digital as medium and platform. Her makings engage a sense of a general collective conscience in a fluid reality and virtual space.
Her dynamic practice that addresses the precarious nature of materiality and grapples with matters of entropy and temporality, leading us to decode these vast information and question the complexity of memorialising a human life in virtual space.
In the talk below, she talks about crossing-thinking materials, in ways of breaking boundaries of painting, sculptures, and all other media like photography, printmaking and video. I suddenly have ideas such as processing my inspirations, and subject matter in computers, printing them out and overlapping these fragments and blurring them to a sense of uncertainty and mass information that reflect a glance of presence.
That idea of the impossible, or the potential of those things that can only be imagined and not achieved, is what you want to do as an artist. It’s a dimension of time that you want to be thrown into, and it’s the potential of an artwork: to put you into that world of imagination. In the midst of this crisis, I think the idea of re-imagination is especially relevant.
SARAH SZE: THE IMPORTANCE OF IMPOSSIBLE IDEAS IN CONVERSATION WITH TESSA MOLDAN PARIS, 14 MAY 2020