Rafael Ochoa was a photographer who fell hopelessly in love with the painted image. He, however, did not know how to paint. Un-fettered by this Rafael used his know-how and the digital tools he had at his disposal to create his images. These breathtaking pieces almost fool you into believing they are the works of a dutch master, and yet they calmy state their claim as something far more.
I have a unique and personal relationship to beauty, one that exemplifies a general condition in today’s society and culture. My work explores the self-defining experience of facial and dental deformity and the correction process that started over years ago and is still ongoing. My themes of interest range from identity construction to abjection, the comparison of beauty and the grotesque, mapping of the face, and topology. To challenge society’s pressure on women’s beauty, I go against
Mirada* blurs the boundary between audience and performance through the implicit interaction of unseen technologies.
This immersive and interactive installation places four participants with a performative Shaman around a 3D projection of a graphical flame shown on a 360 degree display. The guiding Shaman and the participants are each given one of four wooden abstract instruments embedded with wireless sensors that control parameters of a soundscape environment and visual characteristics of the
A series of animations and unique edition prints produced by translating instructions for Sol LeWitt wall drawings into computer code, and automating.
Each time the code runs, it generates a new iteration of the artwork, saved into a file for printing. Dimensions can vary.
As a video installation, each animation is generated in real-time and contains randomized variables, producing different results each time the program is run.
This piece is one in a series called Pattern Integrity. Pattern Integrity is a series of digitally manipulated images and shaped Plexiglas wall structures casting shadows, inlaid with mixed media, agate, resin and based on the writing of Buckminster Fuller.
See This link for the entire series in this project
Written by Paddy Johnson, Wednesday, July 16, 2014
“Why GIFs?,” Opening Times recently asked artist Nicolas Sassoon. Sassoon has been on a three-month virtual residency with the London-based digital media art nonprofit, and has spent the bulk of it working on massive GIFs that span the width of a browser and actually require scrolling. His latest work, Studio Visit, depicts a studio space complete
The most basic component of photography is light. Light is what is captured by the paper/film/sensor and what is of greatest concern to the person making the picture. Chromatic is a body of work that endeavours to distil photography down to its basic element and explore representations of pure light. References to the ‘real’ world have been removed but for the barest of hints such as scratches or reflection. However the images, through their materiality, remain connected to photography
Goodbye Yellow Brick Road...The Early Years Revisited is about creation, destruction, and time invested. Created as a sort of "exit interview" from art-school, the project reused every piece of art created during my studio-arts undergraduate degree before destroying all of the physical pieces. What is left are photo documentations with digital interventions that resemble post cards, contemplating the worth and value of art, and the physical verus digital.
“Two mass terms are merged as one- individual animals into hamburger, an individual woman into an object, “woman.” Through this doubling of objectification, what we have before us is the butchering of women’s subject status.” -Carol J. Adams’ “The Pornography of Meat”, page 25
“Meat Lovers” is an audiovisual exploration of porn and consumption through the lens of Carol J. Adams’, “The Sexual Politics of Meat” and “The Pornography of Meat”. Using humour and the
The submitted work is from a series titled ‘Project Formulae’ that revolves around Microsoft Word and imagery drawn from traditional Afghan carpets. In Afghanistan carpets are a staple in every household regardless of financial status. On a global stage, carpets have become a symbol of wealth and have moved from floor to wall.
This body of work is an anthropological research into the effects of globalization on culture, tradition and identity. Further, it’s an exploration into
Chroma Crypt v1.0 // Philippe Blanchard & Peter Rahul (2013)
Developed with a particular interest in bridging old and new moving image technologies (analog video mixers and 3D video games), Chroma Crypt is an experiment in animation as a live and performative art form. Feedback is a vital formal element of the piece: it is generated and manipulated in real-time through 80s analog video mixers, and incorporated via live keying and mixing. The video game—a psychedelic cave-like environment
Brenna Murphy uses personal recording devices and computer graphics to weave digital labyrinths. In her video, elemental~nanostrand, home movie type imagery — beaches, parks, family, friends, homes — morph into psychedelic swirls and patterns that evoke hallucinogenic experiences. A superimposed image of a computer screen, spiraling in upon itself, underscores the computer’s role as mediator between physical, psychic and virtual realms.
Brenna Murphy, based in Portland, Oregon, has a BFA
Essay by David Bradley.
“Citius, Altius, Fortius.”
- Pierre de Coubertin
Just like science, and sport – which constantly seek to build on or trump the feats of their predecessors, art is predominantly concerned with going beyond its history, with a series of Oedipal impulses[i]. Despite the clever anti-progressive statements of the Post-Modernists, they too were seeking to overcome their past, with or without a sense of ‘progression’[ii]. In some way, all great artists have
Essay By Isabel Gylling and Matthew Ferguson
The majority of people who come across our work and that of many other young artists around the world do so online. In many cases, it is not possible to experience their work first hand in its physical form; therefore it has to be translated through documentation on screen. How can the artist work within these boundaries to best represent and communicate what his or her work is?
By putting documentation of work on our website we have found that the
One of Toronto’s most enduring contemporary art venues, Angell Gallery, has established a recurring theme, in recent years, championing the digital art world and its Post-Internet offshoot in both its roster and programming. Indeed, after leveraging two exhibitions in as many years on the subject, Angell has established himself at the fore of a traditionally elusive genre in the commercial realm. But obviously undaunted, director Jamie Angell followed his 2012 exhibition “Simulators”