My art practice operates using different visual constructions and ideas to address quite a general study around internet culture. As a millennial living in a world growing every deeper into the automatic, technological and robotic way of living, my work uses painting to make sense of the online world as a network that I have grown up with and witnessed develop. I began as a witness and contributor around the time of a shift in style of the internet from the more naïve un accessible network to the masses, to Web 2.0. This describes the increase of centralized services and social networks that permeate our lives and the increase of content added by everyday folk. I am interested in ideas proposed by writing on the relationship between digital technologies and art. Sci-fci fiction and dystopian visions of writers like Phillip K Dick and William Gibson provide a semi credible but fantasy account of the future in a high-tech/ low life society and their cyberpunk character constructs can be mirrored the reality of today’s human beings.
The paintings draw upon an awareness of an art form separate to the method associated with the gallery system that presents physical art objects. ‘Post-Internet art’ like that of Petra Cortright and championed by writers like Gene McHugh takes place solely online and in a sense doesn’t exist at all. Artwork within todays art world is often created and received within a milieu that often takes everything from the physical bits to the social ramifications of the internet as fodder. The early considered definitions for the ‘post’ refers not to a ‘time after the internet’, but rather a state of mind – to think in the fashion of the internet or create in response to it. I am interested in the internet as a resource bank due to its scarily infinite nature, and its effect on human communication.
I use the internet to collect digital detritus and recombine them into paintings using collage to help compositionally. As such, this employs a visual rhetoric of, advertising, graphic design, stock imagery, screensavers, produced a sickly sweet kitsch look at times. The visual texture of the paintings stress towards an unnatural, and synthetically colored aesthetic. Recently, I have begun a new project using the cold curved shapes of IPhone and Apple hardware in paintings, using them as the descriptive framework and aesthetic structure of the images.
Despite the paradoxical nature of producing physical paintings in response to almost entirely computer and screen based content, in a world where art is considered by some to be pluralist in nature, a lot of contemporary painting appears to tackle its relationship to technology too. It seems to stand as an omnipotent theme through which many other chances for visual inquiry come from. To re-appropriate content from the internet and photographs warrants ample possibilities for painting. The slowed pace of creation and consumption of the material, painted or sculpted artwork recharges the images that clutter the internet as a kind of landfill, where low-rez JPG’s and BMP’s become sediments for future internet archaeologists to dig up.
Oil on Canvas
90cm x 145cm
Oil on Canvas
90cm x 145cm
Oil on canvas
60cm x 60cm