I am a survivor of the early experiments in parenting that gave 1980s children broad access to computer games. But the state-of-the-art Amiga 500 machine which we owned at the time bore little resemblance to todays ninth-generation consoles. Blocky on-screen puddles with two white pixels for eyes were abstract monsters - but they appeared alive, I fought battles against them. These games involved a team effort between immature CPU and a childs overclocked imagination which was always there to pick up the slack. The works here are the ghosts disturbed by an archaeological dig into these memories. The scenes are not inspired by any specific game: they are each an ensemble cast of many dusty hand-labelled floppy disks, channeled through a child's eyes then weathered by time. If it is difficult for you to determine if these creatures are fleshy or inorganic, remember their ancestors were stored in mere kilobytes of memory. Excavating these childhood impressions has been an ongoing source of inspiration throughout my practice.
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Fuku-Shiva
The term “Fuku” refers to fortune or good luck. “Shiva” refers to the Hindu deity who represents strongly polar qualities, both severe and delicate. On a beach inspired by adventures on Phi Phi island in Thailand, three youths cavort. Two are representational figures and the third is psychologically rendered. A dynamic relationship ensues between the triad; a reciprocity of active and passive states. The boy on the right engages in maneuvers of evasion, defense, and is dressed in a speedo which reiterates the colors and symbolism of the caution tape on the left and upper right frame of the composition. In concurrent reaction the psychedelic figure shoots out a rocket powered paper airplane. The nude boy seated in the froth and sand approaches in passive repose, and is met with active attention but equal physical reserve by the psychedelic being. Perhaps the most naked figure is also the least representational. Looming large, dynamic, and active, it engages its companions playfully. Various symbols interject into the otherwise naturalistic scene, most notably a beach ball and two contaminated barrels nested in the sand. The upright barrel reads “FukuShima” in Kanji. The barrel laying down reads “Dharma”. To the left the scene is bounded by caution tape, reiterating the danger of the nuclear waste while also hosting alien archetypes, whose presence, as is the nature of these entities, runs up and just behind the consciousness of the psychedelic figure’s eggshell-like skull.
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Another Day In Paradise
Just as the book speaks to intelligence, the image in all its muteness speaks to the heart.
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No Shock #1/5
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No Favour (cold) #25/25
No Favour for you. Cold variation
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The New York Times x NFT
A digital original of Kevin Roose's New York Times column, "Buy This Column on the Blockchain!" Published 3/24/21.