Showing posts with label digital. Show all posts
Showing posts with label digital. Show all posts
Tuesday, April 17, 2012
Remnants: Within an Age of Digitalism
Synthesis No. 2667 Ureilassius (24" x 36" Intaglio-Type Series)
Synthesis No. 2187 Aenon
Synthesis No. 2047 Nanai
Synthesis No. 2030 Susano
Synthesis No. 2054 Xairon
Tuesday, August 23, 2011
New York City Earthquake & CUNY Exhibition
I'm pretty sure that I started it all when I spilled my rice krispies all over the counter this morning... It was first reported as a 5.9 and turned out to be a 5.8 originating in Mineral somewhere in the Virginia/D.C. area. An earthquake hasn't hit NYC since 60 years ago, and it only happens about once a century. This was my first earthquake experience, I was at Jose's apartment in Rockaway Beach when the table suddenly started shaking. I had no idea what was going on! I thought it was the wind or a truck or something passing by... it wasn't until about an hour later that I found out what it really was when I heard about it on the news. I guess all of the phone lines were jammed with this, "thrust faulting earthquake." All of California is probably laughing at us right about now.
In other news, the Canon 20D I had signed out from RIT just went into "error 99" mode since yesterday and it doesn't look like an easy fix, I'm just waiting to hear it from the tech guys when I get back. I was taking a photo from my car and it just happened, it must be some mechanical or cleaning issue. Fun times because I did not bring a back up and I know I'm going to hear it from Eric who was nice enough to have let me have it all summer! Yes to errors one week before turning in equipment! Sarcasm at its best of coarse.
To end on a positive note, I was recently informed that two of my prints were chosen for an exhibition at CUNY: The Center University of New York http://events.cuny.edu/eventDetail.asp?EventId=33058 "Caribbean Art and Artists for the Diaspora" will run from August 31st until October 21st! Also, I'm meeting Roni Henning at her studio in Brooklyn on Friday!
Tuesday, July 12, 2011
Friday, July 8, 2011
Electron Exhibition Space at LACDA alongside “Analog to Digital”
Hello Everyone... If you happen to be in the L.A. area; My artwork is included in the Electron Exhibition Space that is alongside in showing with “Analog to Digital” this ***Saturday*** at Los Angeles Center for Digital Art curated by Rex Bruce: July 9-August 5, 2011. Tiffany Trenda will perform "Urban Devotion," an interactive live piece that has exhibited at Los Angeles County Museum of Art and MOCA. Join us this Saturday for this special live performance and installation. For more information visit: http://www.lacda.com/ And for those of you that are interested in the artwork of John Baldessari as some of you have already asked me, yes it'll be there! Check it out! Cheers, Marchelo
Monday, June 20, 2011
Los Angeles Center for Digital Art, curated by Rex Bruce
I will be exhibited in a concurrent show with “Analog to Digital” which includes the luminaries John Baldessari, Gronk, Joel-Peter Witkin, Mark Mothersbaugh, Dennis Hopper, Robert WIlliams, Patti Heid and others. Curated by Rex Bruce at Los Angeles Center for Digital Art: July 9-August 5, 2011, Reception July 9, 7-10pm More exhibition news soon!
Friday, December 24, 2010
Hybridization: Happy Holidays
I am currently working on my artist statement, a few words need to be changed towards the final paragraphs, and I've yet to spell check... but it's coming along.
21st Century society allows a glimpse into the progressively evolving art paradigm that encompasses the rethinking and growing needs of our constantly transforming technological advancements.
In my work I look to explore and shift the possibilities of blurring the boundaries between medium, form, texture, and color. Having long been trained in the commercial production of traditional newspapers and magazines; where rubylith film and blue drafting pencil once reigned, I have developed an aesthetical sense and balance between more contemporary publishing techniques concentrated in digital manipulation and radical non toxic printmaking methods. I look to further converge the distinctions of prior established fundamentals, while re-appropriating methods for a dialogue of the current evolving trends and advancing technology of our times.
In an aim to better understand the evolution of the art world and my present day surroundings, I have come across the works of many great minds including Craig Owens, Duchamp, Rauschenberg, Baldessari, Kant, Freud, and Marcuse. The Sociological Perspective of life and history connect for me the variables of the past, present, and future, making many things transparent although sometimes complex; the accomplishments and discoveries of mankind are always found first in Nature. My innate curiosity and aspirations compel me to question the possibilities of the way different mediums can adapt and reflect the growing archetype of Hybridization found within our current and progressively advancing technological and Globalized Culture.
In the process of researching and developing techniques, my teaching philosophy and workflow has stemmed out of the practices of my time spent working in marketing and advertising for fashion and editorial companies where I had grown used to being surrounded and influenced by creative directors, photographers, models, stylists, writers, critics, and editors. It is this lifestyle that surrounded me in New York City while working for companies such as Armani, Hearst, Meredith, and Bonnier, which taught me the important advantages of having an appreciation for diversity in the complex world and apparatus of our Civilization.
I now look to submerge myself in discourse with my fellow artist contemporaries and colleagues who possess an insightful view into various forms of media and progressive communication trends; it is this collaborative effort of varied skills that drives the influences of my experimental Hybrids.
Hybrid forms leave artifacts of their distinct nature while at the same time becoming juxtaposed and integrated into a blurred visual aesthetic boundary between one medium and another. I work with materials that lend themselves to both two and three-dimensional environments, which at times become synonymous with their ability to morph into the potential of what I see within their infrastructure. I desire to reach a unified understanding of my environment, a challenge that I hope to never attain while holding truth to the crucial importance of questions over answers.
21st Century society allows a glimpse into the progressively evolving art paradigm that encompasses the rethinking and growing needs of our constantly transforming technological advancements.
In my work I look to explore and shift the possibilities of blurring the boundaries between medium, form, texture, and color. Having long been trained in the commercial production of traditional newspapers and magazines; where rubylith film and blue drafting pencil once reigned, I have developed an aesthetical sense and balance between more contemporary publishing techniques concentrated in digital manipulation and radical non toxic printmaking methods. I look to further converge the distinctions of prior established fundamentals, while re-appropriating methods for a dialogue of the current evolving trends and advancing technology of our times.
In an aim to better understand the evolution of the art world and my present day surroundings, I have come across the works of many great minds including Craig Owens, Duchamp, Rauschenberg, Baldessari, Kant, Freud, and Marcuse. The Sociological Perspective of life and history connect for me the variables of the past, present, and future, making many things transparent although sometimes complex; the accomplishments and discoveries of mankind are always found first in Nature. My innate curiosity and aspirations compel me to question the possibilities of the way different mediums can adapt and reflect the growing archetype of Hybridization found within our current and progressively advancing technological and Globalized Culture.
In the process of researching and developing techniques, my teaching philosophy and workflow has stemmed out of the practices of my time spent working in marketing and advertising for fashion and editorial companies where I had grown used to being surrounded and influenced by creative directors, photographers, models, stylists, writers, critics, and editors. It is this lifestyle that surrounded me in New York City while working for companies such as Armani, Hearst, Meredith, and Bonnier, which taught me the important advantages of having an appreciation for diversity in the complex world and apparatus of our Civilization.
I now look to submerge myself in discourse with my fellow artist contemporaries and colleagues who possess an insightful view into various forms of media and progressive communication trends; it is this collaborative effort of varied skills that drives the influences of my experimental Hybrids.
Hybrid forms leave artifacts of their distinct nature while at the same time becoming juxtaposed and integrated into a blurred visual aesthetic boundary between one medium and another. I work with materials that lend themselves to both two and three-dimensional environments, which at times become synonymous with their ability to morph into the potential of what I see within their infrastructure. I desire to reach a unified understanding of my environment, a challenge that I hope to never attain while holding truth to the crucial importance of questions over answers.
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