Home / Work / Reparation for Events Real and Imagined (tiles)

Reparation for Events Real and Imagined (tile 2)

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Reparation For Events Real and Imagined (tile #2)
inkjet print & egg tempera on paper mounted on clayboard, 5" x 7"
2013, Signed and dated on the backside.

Reparation for Events Real and Imagined (tiles)

For this series of paintings, I selected images from the Anesthetic, False Positive, Placebo, and Phantom Limb Cruft. These cruft are made from the collected database of our socially shared experiences found on the Internet. Photographed memories of so many others are selected by the algorithms, and then later selected once again by myself, these images are taken from this shared database and converted from bits to atoms, transforming ephemeral memories into egg tempera, one of the most traditional and permanent mediums within the history of art.


Reparation For Events Real and Imagined (tile 7)
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Reparation For Events Real and Imagined (tile #7)
inkjet print & egg tempera on paper mounted on board, 5" x 5"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 8)
Enlarge image
Reparation For Events Real and Imagined (tile #8)
inkjet print & egg tempera on paper mounted on board, 5" x 5"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 9)
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Reparation For Events Real and Imagined (tile #9)
inkjet print & egg tempera on paper mounted on board, 5" x 5"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 1)
Enlarge image
Reparation For Events Real and Imagined (tile #1)
inkjet print & egg tempera on paper mounted on clayboard, 5" x 7"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 3)
Enlarge image
Reparation For Events Real and Imagined (tile #3)
inkjet print & egg tempera on paper mounted on clayboard, 5" x 7"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 4)
Enlarge image
Reparation For Events Real and Imagined (tile #4)
inkjet print & egg tempera on paper mounted on clayboard, 5" x 7"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 5)
Enlarge image
Reparation For Events Real and Imagined (tile #5)
inkjet print & egg tempera on paper mounted on clayboard, 5" x 7"
2013, Signed and dated on the backside.


Reparation For Events Real and Imagined (tile 6)
Enlarge image
Reparation For Events Real and Imagined (tile #6)
inkjet print & egg tempera on paper mounted on clayboard, 5" x 7"
2013, Signed and dated on the backside.



Further Resources

The source images for these tiles can be found in the following CRUFT:







CRUFT: Art from Digital Leftovers

I make work that spans computational art, performance, installation, painting and object-making, using collage, remix, automation, indeterminacy, and randomness to bear upon the computer and the Internet as machines that regulate and restrict just as much as they can be used to disrupt and resist dominant codes of seeing and being.

My art practice reflects on our relationship to media technologies, especially surveillance and mind control, and in the process contemplates what a post-human art may look like. Organized under the umbrella concept of Cruft, I take apart, juxtapose, recycle, and interrupt the relentless flow of media to reveal a relationship in which we don't simply consume media, but are also consumed by it.

Digital collages called Cruft are created by scraping the web using computational algorithms that remix mainstream media sites like CNN with social networks of individuals, and reproduce, in mimicry of the 24/7 media cycle, the narrow choices permitted in public discourse. In another series of recent work, Machine Vision, I recombine footage from surveillance cameras with other media, to explore the relationship between war, surveillance, and automation within an overall machine aesthetic.