Review | I have arranged my s...

Generated on 2020-10-23 00:43:14

Result #1

I have arranged my studio practice around the traditional, often figurative and romantic notions of beauty in painting. This serves as my backdrop to elevate the everyday. My aesthetic choices marry high art and the quotidian to create a new narrative. I amplify a conversation between the commonplace of contemporary objects and the luxury of historical painting. This contrariety is where my work finds its legs, showing the splendor and humor in the painted image. *Notes Text – The text puts the viewer in a position where they become part of the work. The “reader” performs the piece and therefore intertwined with the compositional elements. The color pink – I consider the color pink metaphoric—it can be bodily, sensual, gross and dramatic, and I use it as such. Pixelation – The pixelation/grid relationship address artifice—it reflects the way mathematics and technology are used to create a facsimile of nature. In this case the work is a photograph of a blank wall. The pixels are a photographic representation of the wall. The surface of the wall is a reflection of the image. The image of the wall is the surface of a photograph. The photograph is the representation of the wall. The wall is the real wall.The image of the wall is the image of a wall, the surface of the wall. The image is a photographic representation of the wall, the surface of the photograph. The wall is a photographic representation of the wall, the surface of the photograph. The photograph is the representation of the wall. The wall is the real wall. The image is the wall, the surface of the photograph. The photograph is the representation of the wall. The wall is the real wall.The image is the image of the wall, the surface of the photograph. The wall is the real wall. The image is the wall, the surface of the photograph. The image is the wall, the surface of the photograph. The image is the wall, the surface of the photograph. The photograph is the representation of the wall. The wall is the real wall.The image is the wall, the surface of the photograph. The image is the wall, the surface of the photograph. The wall is the real wall. The image is the wall, the surface of the photograph. The wall is the real wall.The image is the wall, the surface of the photograph. The wall is the real wall. The wall is the real wall. The image is the wall, the surface of the photograph. The wall is the real wall.The image is the wall, the surface of the photograph. The wall is the real wall. The wall is the real wall. The wall is the real wall.The image is the wall, the surface of the photograph. The wall is the real wall. The image is the wall, the surface of the photograph. The wall is the real wall.

Result #2

I have arranged my studio practice around the traditional, often figurative and romantic notions of beauty in painting. This serves as my backdrop to elevate the everyday. My aesthetic choices marry high art and the quotidian to create a new narrative. I amplify a conversation between the commonplace of contemporary objects and the luxury of historical painting. This contrariety is where my work finds its legs, showing the splendor and humor in the painted image. *Notes Text – The text puts the viewer in a position where they become part of the work. The “reader” performs the piece and therefore intertwined with the compositional elements. The color pink – I consider the color pink metaphoric—it can be bodily, sensual, gross and dramatic, and I use it as such. Pixelation – The pixelation/grid relationship address artifice—it reflects the way mathematics and technology are used to create a facsimile of nature. This is where the physicality of the work is the most visible and relevant, but it is also a sign of artifice.I consider the pixelation/grid relationship to be a matter of necessity. It is the only way to get to the other side of the line, to the other side of the wall, to the other side of the wall. The equation between the numbers and the other side of the line is a logical one, because if we do not use the numbers, we cannot use the line. But if we do use the line, it is the same as the other side of the line. The line is a surface on which the work is drawn. It is the surface of a mathematical formula.The equation of the line with the other side of the line is not a formal one. It is a verbal equation. The equation is the statement of a fact. Pixelation/grid is a statement of the fact. The equation of the line with the other side of the line is not a matter of fact. It is a fact.The equation is a generalization. It can be used to identify and to identify things. The equation is a generalization. It is not a statement of a fact. The equation is a statement of a fact.The equation is not a statement of a fact. The equation is a statement of a fact.The equation is not a statement of a fact. The equation is a statement of a fact.The equation is not a statement of a fact. The equation is a statement of a fact.The equation is not a statement of a fact. The equation is a statement of a fact.The equation is not a statement of a fact. The equation is a statement of a fact.The equation is not a statement of a fact. The equation is a statement of a fact.The equation is a statement of a fact.The equation is a statement of a fact.The equation is not a statement of a fact.

Result #3

The work is a science-fiction scenario of a computer programmed to reproduce the color of the sun. It is the first step of an algorithm that will create a new image, and we will be able to see it in the future. The computer is a computer, and it is the computer that will be the source of a new image. The old image will be dead and the new one will be the color of the sun. The computer is a computer, and therefore a technological instrument that is increasingly capable of making images. The image is a medium for communication, and therefore a medium, and therefore a communication system.The artist, like the scientist, is experimenting with a new medium, a new system of communication. The artist is creating a new image, and he is creating images by using the computer. The artist is using the technology of technology to create a new image. The computer is a medium, and therefore the medium of communication. The artist is a scientist, and the medium is science, which is used to create images. The computer is the medium, and the artist is a scientist, and therefore uses science to create images. The artist is experimenting with a new medium, a new system of communication. The artist is creating a new image, and he is creating images by using the computer.

Result #4

I have arranged my studio practice around the traditional, often figurative and romantic notions of beauty in painting. This serves as my backdrop to elevate the everyday. My aesthetic choices marry high art and the quotidian to create a new narrative. I amplify a conversation between the commonplace of contemporary objects and the luxury of historical painting. This contrariety is where my work finds its legs, showing the splendor and humor in the painted image. *Notes Text – The text puts the viewer in a position where they become part of the work. The “reader” performs the piece and therefore intertwined with the compositional elements. The color pink – I consider the color pink metaphoric—it can be bodily, sensual, gross and dramatic, and I use it as such. Pixelation – The pixelation/grid relationship address artifice—it reflects the way mathematics and technology are used to create a facsimile of nature. The grids are like an optical illusion, a projection of a photographic image onto a canvas, and the pixelation is a reflection on the optical illusion. Theres a bit of subliminal suggestion here, and it is the subtlety of the suggestion that counts. The process is a bit of a pain in the ass.The digital camera is a trick shot, a synonym for the camera that shoots the world. Pixelation is a trick shot, a projection of the photographic image onto a canvas. Pixelation is a trick shot, a reflection on the optical illusion. Theres a bit of subliminal suggestion here, and it is the subtlety of the suggestion that counts. The process is a bit of a pain in the ass.The digital camera is a trick shot, a reflection on the photographic image. Pixelation is a trick shot, a projection of the photographic image onto a canvas. Pixelation is a trick shot, a reflection on the optical illusion. Theres a bit of subliminal suggestion here, and it is the subtlety of the suggestion that counts. The process is a bit of a pain in the ass.The digital camera is a trick shot, a reflection on the photographic image. Pixelation is a trick shot, a projection of the photographic image onto a canvas. Pixelation is a trick shot, a reflection on the optical illusion. Theres a bit of subliminal suggestion here, and it is the subtlety of the suggestion that counts. The process is a bit of a pain in the ass.The digital camera is a trick shot, a projection of the photographic image onto a canvas. Pixelation is a trick shot, a reflection on the optical illusion. Theres a bit of subliminal suggestion here, and it is the subtlety of the suggestion that counts. The process is a bit of a pain in the ass.The digital camera is a trick shot, a reflection on the photographic image.

Result #5

I have arranged my studio practice around the traditional, often figurative and romantic notions of beauty in painting. This serves as my backdrop to elevate the everyday. My aesthetic choices marry high art and the quotidian to create a new narrative. I amplify a conversation between the commonplace of contemporary objects and the luxury of historical painting. This contrariety is where my work finds its legs, showing the splendor and humor in the painted image. *Notes Text – The text puts the viewer in a position where they become part of the work. The “reader” performs the piece and therefore intertwined with the compositional elements. The color pink – I consider the color pink metaphoric—it can be bodily, sensual, gross and dramatic, and I use it as such. Pixelation – The pixelation/grid relationship address artifice—it reflects the way mathematics and technology are used to create a facsimile of nature. The idea is to imitate nature, to create the illusion of an ideal world. The grid is the perfect metaphor for this, and yet it is a completely artificial, technological world. Thus, the grid is a representation of the technological world, the perfect image of it, and the perfect image of the world.The image of the world is an ideal, and it is a perfect image. The ideal image is a perfect image, and the world is a perfect image. The grid is a perfect representation of the world and of the world, and yet it is a totally artificial, technological world. Thus, the grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world.The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world. The grid is a representation of the world, the perfect image of it, and the world is a perfect image of the world.