We've invited former Featured Artists to answer a series of questions about being an artist and to highlight a new work made since the time of their interviews. Some questions are practical; some are philosophical. These compilations will be interspersed with new Featured Artist interviews every month and will include links back to older interviews. And don't forget to sign up for the monthly blog digest if you prefer to get all your Featured Artist action in your inbox once a month.
Reports & Letters (installation view), 2015. 2-channel audio, speakers, MP3 player.
Sound installation with audio alternating between left and right channels. Watch Excerpt
Everything is fine, 2016. Oil and resin on canvas. 100cm x 100cm.
MTR, 2016. Oil and acrylic on aluminum. 48" x 72."
Hyalo 3 (WaveParticle), 2016. Acrylic Paint and Digital Projection Installation. 50" x 84"
I’ve become very interested in the way the internet augments our notion of space and superimposes another layer of mediated meaning on artwork. To view work online is not the same experience as viewing it in person, and thus the work takes on new meaning as a result of accruing this new medium. There’s the old trope of going to the Louvre to experience the crowd of people staring intently at cameras aimed at the Mona Lisa.
In my own work, I’m interested in how this extends to the contemplative practices of viewing meditative imagery. What does it mean metaphysically to study a mandala online, or pinch to zoom a sacred icon or artifact? Where does our spirit go when our minds enter cyberspace? How does our body aid in our mystical experiences as we park it at the entrance way to a URL? I say this with a bit of tongue in cheek, recognizing the separation of the mind/body/spirit is perhaps a false distinction to begin with.
With online galleries, call for entry forms and the like, we’ve gotten quite facile with the internet as a tool, but I don’t think we’ve fully figured out what it means, in an ontological sense, when the vast majority of art exists as pixels to the average viewer.
I think that one way the internet has affected the way we look at art
is by shifting an overwhelming emphasis onto the image, as opposed to
the object. We’ve grown so accustomed to pretending we’ve had an
experience with a work by viewing an image of it on screen. And at the
same time, I’m grateful to have access to so many images of so much work
by so many artists! But we devour these images faster and faster. As a
painter, I want people to stand in front of the object and take their
time. The sense of scale, from the edge of the canvas to a single brush
stroke, is intentional and actual. It’s disappointing to think that
people think they’ve “seen” this piece or that piece by simply scrolling
through a barrage of images on a phone or laptop. David Hockney said
something like "Video brings its time to you, but you have to bring your
time to painting."
Plein@ir 1.3 (Halle Ravine), 2016. Acrylic and oil on canvas. 30 x 48 inches (diptych).
Interference 6, 2015. Archival Pigment Print. 16 x 16 Inches (24 x 24 Inches Framed).