((ANA)CHRONISMS++) at Transfer gallery

hand browser

My recent show at Transfer Gallery in Brooklyn has four works that are areas I have been researching. They are Net.Art, Augmented Reality, Projection Mapping, and Sound Art.

Post Browser

I continued with using the Processing programming language and data visualization that I started in Newcastle at ISIS Arts. In this case I developed a physical browser/net.art piece that gets live info from the internet and lays it out in a 3D space.  A kinect camera is used to move the data objects around in space.  The work carries on from earlier net.art works that challenge the web browser and the idea of framing and layout.  The work also challenges the corporatization of the internet. I wrote an html parser to get around the MoMA’s web page layout and grab the current exhibitions images. These are made public on the internet. I wanted to lay them out in my own design. The other question is the browser and web page metaphor in general. It’s a hangover from print media and it’s the importing of a static media form into a dynamic information space.  I chose to allow the viewer to immerse themselves in the information space and interact with the information through their body movement and eyes. The viewer also hears the RSS feed from an art blog Hyperallergic being read by a synthetic voice.  I laid out the live weather feed in the form of a text circle  that forms a ring outside of the ring of images produce from MoMA. The Kinect camera’s infrared video is mapped onto the cylider in the center putting the viewer in the work.  Sofy Yuditskaya collaborated with me on the code to bring this work to fruition. She took my basic code and refined it and added her own touches. That’s the thing about writing code, you often get stuck and need someone to suggest a different approach or to help finish the project.  This work is called Post Browser and is an alternative approach to information access. I feel that data visualization and immersive browsing is the future.  A case can be made that artists are necessary to create interfaces that break the conventions of page layout, proscenium arch and Renaissance  space.

AR Paintings

Painting tends to work within the visual context of any period. Although quite recently I feel that painting has not caught up with or understood virtual space.  In particular virtual space uses isometric geometry rather than fixed point of view planar perspective.  I decided to make paintings that would function as Augmented Reality markers. These define the space and allow a fixed point for walking around the augmentation. Simply putting AR markers on the wall leave the virtual space in it’s own domain. By making paintings the AR Markers there is a real dialog with both physical space and painterly space. To add to the reference I chose Josef Albers paintings because they are an indication of a structuralist approach to the language of painting. The use of Albers painting pushes the work into Post Modernism and appropriation. In new media all information is utilized because it is flattened out into rhizomatic linkage.  By adding the AR markers onto the paintings they become truly net.art.  I enlisted Maria Joao Salema because she is an excellent painter and we collaborate well together.  The augmentations give four variations on types of art. There is realism in the self portrait, conceptual art with the text, minimalism with the extension of the painting into 3D and pop art with the toy clown car.  The car and the self portrait are 3D scans  that make good use of isometric geometry. The physical interface is an ipad on a rollable stand that has handles. The viewer rolls this “device for viewing paintings”  around thus creating a physical interactivity as well as the virtual one that is viewed through the iPad.

Pile O’ Rants

This work uses projection mapping and four channel sound. The sound is used to place speakers in the sculpture, tying the sound to a location. One must walk around the sculpture and lean into it to hear separate sound tracks.  The checkerboard carpet tiles and painted country furniture physically root the piece in real space.  The video projection and sound are married to the furniture. The videos projected are  rant performances I did in 2006. I enlisted Brian Caiazza to shoot the video and do the post production. This is also a collaboration with Brian.  My video performance goes back to the 1970’s when I was one of the first performance artists to work in the form. I have worked in this performance rant for many years altering the formats to keep the form fresh for myself.  This latest presentation breaks the linear theatre like presentation format by presenting the videos all at once. The viewer is not seated but must walk around the installation to percieve it. The videos and sound are used as textures rather than discreet presentations.  What happens is that the emotion and the feel of the the works comes through while the story-line is de-accentuated.  The historical references are to Rauschenberg’s Combines (with the furniture), Neo-Geo (with the carpet tiles) and Video-Performance  Art.  It also uses a computer and custom software to root the work in the current discourse as do all the work in the show.


These are really odd and evocative works that are part Sound Art, part Circuit Bending and also very personal. The portable radios are at this point outdated antique technology.  I’ve imbedded mp3 chips that allow me to play custom playlists through the radios.  They playlist themselves are a personal soundscape that locate the radios or root them in a particular time and location. The playlist are top hits from 1958-63, top classic blues songs, J-Pop and surf music and No-wave from the 1970’s.  The art historical references can be tied to Ed Keinholz as well as the Neo-Geo style and recent installation work.  My father was an electrical engineer and for him radio was the entry point to technology. I struggled trying to emulate him but turned to music and art latter in my youth. These pieces reflect specific times in my life such as my first Motorola portable radio that my mother gave me in 1960.


I was struggling with a title for the show and came up with anachronisms. After reading the dictionary definition I decided to turn the title into a pseudo algorithm to reflect the implicit coding structure. ANA means before and chronos means time in Greek and ++ in code means stepping forward. so the title means backward and forward in time.

I feel that extraordinary artworks engage in three areas equally. First; the artist personal reasons or internal logic behind the works. This is often a feeling or an intuition or insight. Second; engaging art history. Placing the work within the language of art. Third; engaging the intellectual discourse of the times.