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’m teaching my techniques and tricks for Visual Glitch Art in the coming weeks. See you in class!
3rd Ward, an awesome multi-disciplinary workspace and education center where I teach circuit classes, is hosting their annual Holiday Craft Fair.
12:00 – 6:00pm
195 Morgan Ave Brooklyn, NY 11237
I’ll have a selection of over 20 Glitch Blankets and will be offering prints as well as 5% discounts for members of 3rd Ward and followers of Year of the Glitch (if you’re both, take an additional 5% off the first 5% discount!). You must have proof of your 3rd Ward membership, or the Year of the Glitch code to receive either discount.
Not a follower of Year of the Glitch? Go here!
Listening to the Ocean on a Shore of Gypsum Sand is a collaborative project between Gene Kogan, Phillip Stearns, and Dan Tesene. Seashells are 3d printed from algorithmically generated forms for the sole purpose of listening to the “ocean”. The project questions the role of experience in the mediation of the virtual world to the real world and visa versa.
For those of us who have had the experience of listening to the sound of the ocean in actual seashells, it is a questions of lived experience shaping an approach, not only to the object (or world) at hand, but how it is perceived and acted upon. Are we to trust these shells? Do we seek out natural shells for comparison?
To those for whom their first experience of listening to the “ocean” through the digitally produced shell, the question becomes one of how the first encounter with a virtualized and simulated reality shapes the experience of lived space. This virtual shell is all I know of the real, until I encounter those found in nature—and when I see this natural shell, what then is my experience of? More broadly, how does mediated reality form our preconceptions of the world?
For some, these questions seem obvious—we may even have convinced ourselves that we have this all figured out. We are aware of the possibility that the virtual world and real world are two interacting identities, distinct ideas that maintain their individuality despite their mutual influence on one another. There is, however, a possibility that this distinction is fading with younger generations, as technologically mediated experiences permeate childhood. I wonder about the effect of this as they grown into the world.
This project will be on view at Soundwalk 2012, a sound art festival in Long Beach, CA on September 1st 6-10pm.
I’m offering these as rewards on the Glitch Textiles kickstarter campaign at the $225 level.