“All of the images and quite a lot of the text were hijacked from real spam emails in my junk folder. I collaged them together to make new narratives. It’s all done with Photoshop, but I also use other kinds of graphic software that’s been cracked – I try to keep my work quite faithful to how real Internet scammers do it. Spam preys on our insecurities and needs; in the privacy of our own homes everything becomes much more available and dangerous. I often make installations with monitors, but used digital prints for this work to reference the adverts in the back of magazines. It’s like the gallery space can be divided into advertising plots, with wall space sold off by the square metre. I think of this piece as a portrait of today and my work is a sort of on-going social commentary. I work with urgency to get as much of this stuff processed before it’s entirely lost: soon spam filters will be so advanced that we’ll forget what a spam email ever was.” James Howard via Saatchi online.
The work is currently taking part in the british Art Now exhibition at Saatchi Gallery, London.
Ryan Trecartin digital collages for W magazine (November, 2010) respond with the complete mastery over emblems of consumer culture and social networking. The traditional fashion spread has become unrecognizable in its form yet perfectly familiar in its content and heavy use of symbols and signs. For the online conception fashion magazine DIS, titled Web 1.0, the artist has made his creative and production process visible: a shot list with a myriad of influences described and called out to the last detail. The dizzying list definitely qualifies as an art piece. Via Beautiful Decay.
This post is made possible by Emile Zile who is currently artist in residence at Pinar&Viola global headquarters.
Takeshi Murata produces digital works that refigure the experience of animation. His innovative practice and constantly evolving processes range from intricate computer-aided, hand-drawn animations to exacting manipulations of the flaws, defects and broken code in digital video technology. Whether altering appropriated footage from cinema (B movies, vintage horror films), or creating Rorschach-like fields of seething color, form and motion, Murata produces astonishing visions that redefine the boundaries between abstraction and recognition.
Murata has developed painterly techniques for processing video using glitches and errors. Conjuring digital turbulence from broken DVD encoding, he carefully tends bad video compression to generate sometimes sinuous, sometimes violent flows of digital distortion. With a powerfully sensual force that is expressed in videos, loops, installations and electronic music, Murata’s synaesthetic experiments in hypnotic perception appear at once seductively organic and totally digital.
Basso & Brooke is a fashion brand from UK, where Bruno Basso creates his gravity-defying patterns, while Christopher Brooke works out the complex and clever graphics and brings them alive. They operate in the borders of hyper reality that pushes the boundaries of technology, while not being ironic or quirky or subversive. Each of their prints are minor masterpieces of complexity.
Their inspirations vary from male genitalia, Japan, Jeff Koon’s abstract prints, French Broque movement, Louis XIV., Sevres, Limoges Porcelain, etc..
In 2010, Bruno Basso and Christopher Brooke travelled to Uzbekistan to get inspired and made a capsule collection.
Creating an alternative reality, part fantasy, part commercial playground, Glasgow based artist Rachel Maclean produces work dealing with the notions of culture, gender and celebrity. Working largely in digital composite video, the Edinburgh College of Art graduate’s short films feature an array of grotesque, highly made-up and ridiculously camp characters which truly have to be seen to be believed. (via Amelia’s magazine)
Rachel Maclean’s work in her own words:
My work slips inside and outside of history and into imagined futures, presenting a hyper-glowing, artificially saturated surface that is both nauseatingly positive and cheerfully grotesque. In recent videos such as ‘Tae Think Again’ (2008) I create synthetic spaces in which Mary Queen of Scots dines with the ‘it’ girls of Sex and the City, ‘Neds’ dance around a sausage Stonehenge and a ghoulish Susan Boyle plays the blow-up guitar. My videos present a low-tech aesthetic inspired by The Edinburgh Bargain Store, Youtube, Hieronymus Bosch and High Renaissance painting, spliced together using MTV style green-screen and channel changing cuts.
My practice is mixed-media, involving painting, sculpture, installation, performance and video. I only use my own body as a platform for constructing alternative personas that can then be cloned, mutated, objectified, worshiped and murdered at will.
Inspired by the Britney Spears head shaving, I am interested in the moment at which unified, constructed identity throws it’s self up and tips into it’s opposite. The instant of self-consumption, when the signature white smile of the teen pop sensation begins to hungrily gnaw at it’s own image.
Tae Think Again
Pinar&Viola is currently working on four stained glass windows for a synagogue in Amsterdam.
The designs depict the four jewish matriarchs: Sarah, Rebeccah, Rachel and Leah.
For this project Pinar&Viola works with a high skilled glass atelier, Zaansche Glas in Lood Zetterij.
More information will follow once the production is complete.
Pinar&Viola gave an Ecstatic Surface Design wokshop of 5 days at MIX Academy Amsterdam.