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.
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
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”
Angell’s current show features nine established and up-and-coming artists who work primarily in digital media. Occasionally termed post-internet art to underline the fact that we live in a digital age, the genre’s aims are as broad and diverse as the technology employed in its making.
This is the era of the hyper-real, of copies that do not refer to an original, and no one expresses this better than Rafael Ochoa. Using software to simulate the textures of Old Masters, his two paintings