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)
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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

The relentless flow of information on the Internet that quickly becomes digital leftovers is examined by my art practice to reveal a relationship in which we don't simply consume media, but are also consumed by it. I explore the Internet as source material to be appropriated, taken apart, juxtaposed, and recycled by writing computer code that is automated and runs on a 24/7 schedule producing a form of collage I call Cruft. The resulting artwork allows me to investigate broader issues of originality, authorship, reproduction and temporality.

In response to the intense pace and constant change happening online, my art practice includes a slower and thoughtful method of applying traditional media such as charcoal, paint, wax and ink, to prints of selected Cruft images. These analog images are created over longer periods of time resulting in a meditative process that subverts the goals of speed, spectacle and distraction, offering an opportunity for slower looking and deeper thinking compared to the crushing overload of an endless stream of Cruft produced by automated computer processes.

The Internet has the ability to provide freedom by connecting us at great distances, democratizing the world's knowledge, and facilitating disruption and resistance to systems of power. It can also simultaneously provide control by restricting and regulating our thoughts and actions while propagating fear, divisiveness, surveillance and repression. My art practice delves into the very nature of the Internet, pulling at it’s strengths and exposing the flaws, producing what has been coined Post-Internet art, that by definition references the "network" that we all inhabit, and ultimately, it's effects on our society and culture.

Robert Spahr
Carbondale, IL
August 2018