Archive for the ‘Digital Art & Screencaps’ Category

“Nut [for Matisse]” (Digital Painting, 2007)

Sunday, December 23rd, 2007

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“When we speak of Nature it is wrong to forget that we are ourselves a part of Nature. We ought to view ourselves with the same curiosity and openness with which we study a tree, the sky or a thought, because we too are linked to the entire universe.” (Henri Matisse)

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“Memphis” (Digital Painting/Album Cover, 2007)

Tuesday, December 25th, 2007

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“There is no history to tell us of the beginnings of Memphis, only legend. It’s legendary founder, Menes, may have been one or several of the shadowy figures whose identity has never been established. Menes however… has been acknowledged through the centuries as the first ruler of Egypt. Before his time, the country was divided into Upper and Lower Egypt, each separate and distinct from the other and largely made up of independent kingdoms. Menes united these into one undivided Egypt.” (Marion Teena Dimick, Memphis: City of the White Wall)

This image was later used as the cover for the third Nova Scotia album Memphis (Ikuisuus Records, 2008). Nova Scotia are an experimental noise band from New Zealand comprised of Rick Jensen, Dean Brown and Dick Whyte (also featuring a guest performance by Antony Milton on this recording). Click here to listen to excerpts from the album. Find out more about Nova Scotia.

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“‘Memphis’ is a consistently flowing top-shelf example of how electronic and acoustic sources work together in improvised music today. It’s nearly impossible to not mention the classic example of AMM’s pioneering work in this field or the more contemporary efforts of Evan Parker’s group settings, even if Jensen’s reed work owes more to someone like Jon Butcher. The interplay between Jensen’s multiphonics and ornamental work and the brass-playing on the opening track is almost Scelsi-like amidst the drones and looped sounds from Whyte’s guitar and the other subtle sonics. Some truly sublime and captivating music. “Rosetta Stone Paperweight” features more feedback and the sort of scraped sound aesthetic found on “AMMusic” circa 1969, but perhaps with a more sensitive set of ears. This is not improvised music of reckless abandon, but carefully crafted abstract soundscapes of the most deliberate nature. The dynamic interplay gets a bit sloppy in moments but really exposes how in touch these cats are with one another in the moment.” (Heathen Harvest)

“The recordings were done at 2 seperate gigs at Photospace Gallery in Wellington, NZ. I exhibited at the gallery twice and we began performing there quite often (the owner even played drums for my group The Rick Jensen Trio). Nova Scotia played a number of times there as the environment was particularly suited to us, outside was the main street in Wellington, where everyone would go drinking at night. It was all nightclubs and bars, buskers and drunk people. When we performed we’d open the windows and use any street sound that came through and integrate it into our performance. For the track that features Antony, we played a gig with him and then invited him to join us, it turned out to be an unusual song. All of the performances we did at Photospace had a particular feel to them, and we certainly developed our sound a lot with these gigs. There’s not a lot more to say about them, at this point we were using many homemade instruments, broken electronics, 4 tracks, and anything we had at hand. This album represents a highly experimental period for us and shows the way we were going at the time.” (Rick Jensen)

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“That Dog Gone Egg” (Digital Painting, 2007)

Sunday, December 30th, 2007



“It’s a Dogon’s egg,” explains Félix. “Just hold it in your hand, and you’ll get to the Body without Organs.” (Felix Guattari, in Choose Your Own Philosophical Adventure #1: Escape from the Dialectic)

“I embrace that throne which is in Unu, and I keep guard over the Egg of Nekek-ur.” (The Book of the Dead: Words of Emergence by Day)

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“Who’s Afraid of Barnett Newman?” (Digital Painting, 2008)

Wednesday, December 3rd, 2008

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“It is not difficult to see how Greenberg’s own program for color-field painting and his ideas on the development of modernism leave little room for an explanation of Newman’s zips. In effect, they are the elements which support Greenberg’s ideas the least. In the rare cases when he describes the zips, he does so briefly and asserts that Newman’s art is not really geometrical and that there are other, less noticeable factors that are more important to an interpretation of his work.” (Samantha Krukowski, Was Greenberg Blind to Barnett Newman’s Zips?)

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“U.S.N.Z. Flag” (Digital Paintings, 2009, thanks to Tao Wells)

Friday, December 4th, 2009

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Designs for a new New Zealand flag representing our nations unconscious split-personality (the motherland on one side, the fatherland on the other). Inspired by Tao Wells’ Global American Flags, Michael Billig’s Banal Nationalism (thanks to Robyn Kenealy) and the Herald’s call for a new NZ flag in 2009 (given support by National leader and current prime-minister John Key, as well as 11 members of the so-called ‘Order of New Zealand’).

“The central thesis of the present book is that, in the established nations, there is a continual ‘flagging’, or reminding, of nationhood. The established nations are those states that have confidence in their own continuity, and that, particularly, are part of what is conventionally described as ‘the West’. The political leaders of such nations – whether France, the USA, the United Kingdom or New Zealand – are not typically termed ‘nationalists’. However, as will be suggested, nationhood provides a continual background for their political discourses, for cultural products, and even for the structuring of newspapers. In so many little ways, the citizenry are daily reminded of their national place in a world of nations. However, this reminding is so familiar, so continual, that it is not consciously registered as reminding. The metonymic image of banal nationalism is not a flag which is being consciously waved with fervent passion; it is the flag hanging unnoticed on the public building.” (Michael Billig, Banal Nationalism)

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“Untitled Virtual Light Sculpture” (Google Maps, 2009)

Saturday, December 5th, 2009

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Made after talking with Tao Wells about Paul Sheerbart; “The surface of the Earth would change greatly if brick architecture were everywhere displaced by glass architecture. It would be as though the Earth clad itself in jewelery of brilliants and enamel. The splendor is absolutely unimaginable. And we should then have more exquisite things than the gardens of the Arabian Nights. Then we should have a paradise on Earth and would not need to gaze longingly at the paradise in the sky.” (Paul Scheerbart, Glass Architecture)

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“Rihanna – Black Like Me” (Digital Screencap, 2010, with Robyn Kenealy)

Wednesday, May 26th, 2010

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“Rest at pale evening… A tall slim tree… Night coming tenderly, black like me.” (Langston Hughes, Dream Variations)

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Unedited screencaps from the game “Rihanna Makeover” on Girl Games, one of the leading online gaming sites for young girls. Black Like Me is a collaboration with Robyn Kenealy, an artist currently working on a Roddy McDowall biography comic and a Battlestar Galactica fanfiction novel.

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“Rihanna – Dark Like Me” (Digital Screencap, 2010, with Robyn Kenealy)

Thursday, May 27th, 2010

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“To fling my arms wide in some place of the sun, to whirl and to dance till the white day is done. Then rest at cool evening beneath a tall tree, while night comes on gently, dark like me —” (Langston Hughes, Dream Variations)

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Unedited screencaps from the game “Rihanna Makeover” on Girl Games, one of the leading online gaming sites for young girls. Dark Like Me is a collaboration with Robyn Kenealy, an artist currently working on a Roddy McDowall biography comic and a Battlestar Galactica fanfiction novel.

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“Britney Spears – Born To Make You Happy” (Animated GIF, 2010)

Saturday, May 29th, 2010

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Animated GIFs made out of unedited screencaps from the game “Britney Spears Date Dressup” on Girl Games, one of the leading online gaming websites for young girls, dominated by dress-up, cooking and decorating games.

“The construction of children’s gendered identities cannot be fully understood without acknowledging  how the dominant discourses of femininity and masculinity are heteronormalized in children’s everyday lives. That is, through the process of gendering children are constructed as heterosexual beings.” (Robinson, in Kerry Robinson and Cristyn Davies, Tomboys and Sissy Girls: Young Girls’ Negotiations of Femininity and Masculinity)

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“Britney Spears – I’m A Slave 4 U” (Animated GIF, 2010)

Sunday, May 30th, 2010

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One of two works exploring Britney Spears shaving her head and its relation to gender. Animated GIF made out of unedited screencaps from the game “Britney Spears Makeover” on Girl Games, one of the leading online gaming websites for young girls, dominated by dress-up, cooking and decorating games.

“I suspect that the day Britney Spears shaved her own hair off represented a kind of Sartrean or Socratic argument (rather than, say, a nervous breakdown). She was, in effect, by the use of appearance, shrewdly de-mythifying beauty. The hair lies on the floor, “inexplicably faded” (Sartre), and the conventional notion of femininity likewise.” (Andy Martin, The Phenomenology of Ugly)

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