Writer Nick Zurko interviewed Phillip David Stearns, the artist and designer behind GlitchTextiles. From music to art, glitch to stitches and everything in between. This interview is the most comprehensive glimpse yet at the story behind the creation of GlitchTextiles. READ MORE
If you’re in London this weekend, stop by Tate Britain on Saturday November 8th from 12pm until close, for the special Code edition of Loud Tate. It’s a free event in the rotunda!
November 15 through December 13, 2014
Opening Reception with the Artist :Saturday, November 15 7 – 11 PM
TRANSFER is pleased to present ‘EVIDENT MATERIAL’ a new series of work from Phillip David Stearns. For this exhibition, Stearns produced film-based images without a camera by applying various household chemicals and 15,000 volts of alternating current directly to the film. In a flash, arcs spread out across the surface, burning holes and igniting the film. As in our eyes, images are conveyed in a stream of such electric impulses. Here such impulses are amplified some 300,000 times.
Statement from the Artist:
“The sentiment that the camera is an extension of the eye is taken to an extreme. When looking through the Fujifilm FP-100c instant color film datasheets, the similarities between the layering of materials in the film and the layering of cells in the retinal is striking. Perhaps it is because the development of such film technologies parallels an evolving understanding of how the eye sees.”
This work continues previous explorations challenging the ontology of post-digital photography using extended techniques—bending, cracking and breaking the medium. The works in ‘EVIDENT MATERIAL’explore the potential for analog photographic media to operate beyond their intended capacity for reproducing a world of appearances. The process of extension is applied to every material in such a way that reveals process itself as evidently material.
PHILLIP DAVID STEARNS, (USA, 1982) Based in Brooklyn, NY, Stearns’s work is centered on the use of electronic technologies and electronic media to explore dynamic relationships between ideas and material as mobilized within complex and interconnected societies. Deconstruction, reconfiguration, and extension are key methodologies and techniques employed in the production of works that range from audio visual performances, electronic sculptures, light and sound installation, digital textiles, and other oddities both digital and material.
His work has been exhibited internationally at electronics arts festivals, museums, and galleries including: Turku Biennial 2013, WRO Biennale 2013, Transmediale 2013, Denver Art Museum (2013), The Photographer’s Gallery London (2012), The Camera Club of New York (2012), Eyebeam (2012, 2007), Harvestworks (2010, 2012); Gli.tc/H 2112; and more. Full bio
Artist zaps polaroids with 15,000 volts, WIRED UK Magazine
Let the Sparks Fly, FRAME Magazine
LANDSCAPE WITH DEVICES
August 28 – September 4, 2014
Hours: Tue-Sat 12-6pm
Opening Reception:Thursday, August 28, 6-8pm
Closing Reception:Thursday, September 4, 6-8pm
Today, our experience of the environment is modified by the use of technology and confined to urban planning. Our ever-growing communities no longer allow for an undomesticated state of wilderness. Technology functions as a tool with which we relate to our habitat, enabling us to select, loop and screen our experience of the natural phenomena obscured by the cityscape. Our computers and cell phones have become cozy portals into nature.
Landscape with Devices, opening on August 28th, 2014 at FRIDMAN GALLERY, presents the works of three artists who reinterpret nature for the digital age.
Noa Dolberg’s Gadgets For the Cave Man II, is a representation of a living campfire, created with flickering light bulbs and the crackling sounds of fire. The gallery space turns into a cave, recalling the surroundings of early humans during the night, in a safe and intimate way. Phillip Stearns’ multimedia installation proposes a parallel view of the idyllic sunset, one that is altered and transformed by computer technology. A random image of a sunset is repeatedly scanned and processed pixel-by-pixel, while simultaneously being projected onto gallery walls. Esther Ruiz’s sculptural works of concrete, neon and plexiglass create fictional landscapes. Various sized totems of self-contained narratives, they are objects of an imaginary natural world — past, future and outer-planetary.
Seen together, these artists’ works become tools for creating landscapes of convenience. Nature is no longer noisy, scary, isolated or removed from us; it can now be switched on and off, rearranged and customized until it becomes our intimate playground.
I was curious to see how well images from the High Voltage Image Making project would transfer into textiles, so put together a design file made from the lead image for the Kickstarter campaign and sent it off to the weavers who make my Glitch Textiles.
I’m super pleased with the results and will be making this design available for a limited time, exclusively through the kickstarter campaign as a reward for backing at the $225 level.
High Voltage Image Making is a project exploring the use of electrical discharge as a means of creating images in photographic media.
I’m raising funds to create a body of enlarged archival prints and to continue developing this project further in terms of creating new works and exploring new techniques.
Limited Editions, Signed Prints, a Photo Book, Commissioned Originals, and more available as backer rewards!
Get started making glitch art! I’m offering a class covering basic glitch art techniques on Skillshare: Glitch Art – Creating Design from Error: Databending Basics
Learn how to use text editors and hex editors to make glitch art and then turn a series of glitched images into an animated GIF. We begin with a brief introduction to what Glitch Art is, the materials involved, and then dive into hacking the materiality of our digital world.
Sign up using the link above for $10 off class enrollment!
Want to learn how to glitch a digital camera?
I’m teaching a workshop in Los Angeles at the Machine Project on February 23rd.
PS – I’m providing the cameras and you get to take yours home with you after the workshop!
Learn how to make images like this: