An on-going series of abstractions.
Part of an on-going investigation into contemporary contexts of the 'Landscape', these procedural works of light-fast pigment paint on archival cotton, re-imagine popular desktop wallpapers as psychedelic abstractions. The works build upon the lineage of significant artists in history who depicted vistas from Yosemite National Park in the United States of America. Following the likes of Carleton Watkins, Albert Bierstadt and Ansel Adams, who produced work at this location of artistic pilgrimage due to developments in technology, Apple began to include simulated landscapes with their operating systems due to the geographical proximity of Yosemite to Silicon Valley.
These abstractions treat the historically iconic visuals as flat imagery or data to be exploited, rather than any pragmatic or ideological representation of space. The locations are selected for reasons relating to their meta-contexts, rather than retinal or romantic ideas.
The production methodology sees these works produced in a repetitive, algorithmic fashion. 100s of hours of machine-like labour goes into the production of each 'painting' resulting in a somewhat digital aesthetic. Decisions regarding the zoning of areas of colour relative to the source imagery, resembles the way that computer code is beginning to 'see' images through primitive artificial intelligence procedures. The visuals may initially refer to the history of painting through landscape, aboriginal design, weaving, modernist abstraction and use of industrial colour, however these works depart from historical painting orthodoxy - instead engaging with contexts of human relationships to space and reality as mediated by new media technology. Produced in this scale and informational density, these works are intended to exist outside the digital realm since the kinesthetic viewing experience they offer cannot be reproduced through screen-based mediation.