Post Internet Art

Assignment II:

Part 1:

Obsolescence manifests in my practice in different ways: first I chose to work with painting basically because I like the idea of working with a medium that died and became irrelevant, therefore  lost it’s power and relevance which freed it from former restrains and gives artists more space. I also feel this idea of obsolete is deceiving as it might address people’s biases of “new is better than old” in an era where progress failed at least in some ways; there is also something about communication and narrative, since one might think that new mediums as video convey meaning in easier more effective ways; I believe that can be deceiving too. An important part about my practice is physicality and materiality, basically the relation between our bodies and the materials, something that is maybe obsolete in a world that is ever fleeing and virtual.

Finally, the way I register and use technology in certain projects may become problematic and disappear as I have a lot of digital files related to process tracking and it is up to me to keep things updated and organized. I am also aware of the fact that some files may not work because of the huge technological changes that occur non stop.

PART II:

When is enough, enough?

Should we update our idea of ownership?

Maybe use different ways to track and archive what is happening instead of trying to keep obsolete things working forever?

 

Assignment I:


Colors III.

Oil and acrylic and paper on canvas

100 x 70 cm. 39.3 x 27.5 inches. 2017 – 2019. Color registration project.

Make a choice, let it unravel.

Threads and oil on canvas.

 1.35 x 3.07 m. / 53 x 121 inches. 2018.

 

Do I make Post Internet Artwork = no / YES

My work deals with painting, some drawing and obsessing a bit about the process. Most of my projects exist within the physical space and the internet is only used to make the work accessible across the time/space in a way that in my opinion does not honor the images and ends up creating a complete different experience for the viewers, yet that happens to many things these days and I have decided it is acceptable and sometimes useful as way to see the artwork on a different maybe misleading way.

There is a network component about what I do. In one sense I agree with Jocelit’s statement about one painting connection to a wider net of paintings and to painting’s history that is kind of unescapable and maybe soothing. I also believe within my practice there is a network that runs between the projects that are based on tracking the process and the other projects, here the internet has a interesting role as it allows for the connections between projects to be more visible.

In conclusion my work is not made for or based on the internet, nevertheless I do acknowledge it has effects on it.