I have been on some thing about hammerhead sharks for about a week or so now and still can’t break down the semiotic equation into understandable, relatable signs. Perhaps it’s their pre-historic shaped head that has had no need of evolving or maybe it’s the way they congregate in giant vortex swimming patterns in the pacific ocean for mating purposes .. or for more sublime purposes that have to do with the other reason I believe I have been drawn to them .. their use of the magnetic field of the planet for more than we should assume we know.
But that is what contemporary art essentially is .. the working of a content problem through paradigmatic and syntagmatic signs in a closed system (a canvas or virtual canvas) with illusory borders that indicate a framework for the set of variables in the equation…. that’s painting. At least that’s part of what painting should be.
this is our kitchen.
with hammerhead sharks.
lots of new things in production. spending less time posting to iG abd Vine and more time with static visual series work root in abstraction departur, where an initial painting or other 2D piece is reworked with digital tools for a linear progression into something that is more purely retinal and whose original source image is only evident with key framed pieces that show the transformation.
the first painting is titled DIGITAL ICARUS complete with a small narrative about flying too close to the iCloud, which causes data to rain from within and the loss of all in-app purchases causes social turmoil, famine, and boredom … a post-allegorical allegory for the digital age.
in a process that essentially squeezes the histogram and color palette of an image into a circular form, the form is then further pulled and stretched to its limits and beyond.
in contemporary art history concerned with American Art post WWII we see a shift from n the various movements between the 1940s thru the 1970s that concerns itself with self-referential totalogies where abstraction sought to widdle down painting to its materials and nothing else … canvas & paint. Acrylic paint found an emergence in this time frame as the ability to apply paint directly to a surface without first priming it made the minimalist movement chirp. this of course did not stop as the move into conceptual art which brought with it a stripped down acceptance of what could be considered art, which at times had no concrete form (a moment in the history of art that suggested the division between artists and audience was often not one of respect). however we also saw work that was incredibly complex with its documentation of process becoming just as strong as the final product.
these pieces are perhaps more about the minimal transformation of pixels across one digital piece to another with many in between, without the need of much more than one single application within one single app(lication.