Artists Statement

Caspar Below

Caspar Below is an award winning artist who explores the relationship between history, technology and social responsibility. Previous projects include the ritual disposal of bad advice about life, the creation of cocktails as local historical memorials and training Londoners in techniques of urban mass evacuation. In 2013 he won the Camberwell Open with his Payday Loan Cenotaph installation and was specially commended by the London Sinfonietta for his piece ‘Commuter Audio Algorithm’. In 2014, he was commissioned to found the Camberwell Arts archive to document the history of the grassroots arts organisation through artefacts, photos, documents and oral history recordings.
The Trilogy of Painful Changes tells the story of three different experiences of difficult or hard to accept transformations and paradigm shifts. The different perspectives are told as digital fables, using abstract characters in a familiar storytelling format. The text based animations use glitch aesthetics and speed reading technology to set the characters on a collision course at a rate of up to 300 words per minute.

The End of Ebb and Flow describes the double act of opposing forces and characters, bound to each other by mutual dependency and disdain, to illustrate the invisible linkages that may exist at the heart of our physical and virtual communities, and the lack of control over the outcomes our actions may have.

Modernity on the Outhouse is based on Aesop’s fable the Kid and the Outhouse, rewritten to contrast the concepts of Modernity and Tradition in a fictional encounter, to satirise their relationship. The story is framed by “glitch video”-fragments, footage created through the corruption of digital files.

The Disjointed Changelog is the centre piece of the trilogy. It distorts the classical fable storyline, referencing coding languages and concepts of innovation in computing history to tell a story of two friends struggling with change. The video has been developed around an ongoing dialogue with the Cambridge Centre for Computing History.

Nia Burks

Nia Burks is interested in the images we record and share on the web. She collects these bits of information from the Internet and creates works of art from them. On an absolute core level her interests have always laid in multiples, overlooked details, and compiling and organizing found digital material. Nia lives and works as an artist on the east coast with her dog and best friend, Grrr.

Bootymeat depicts the subject's moment of entry in home twerk video's on YouTube. The dance itself is removed, and instead the viewer is left with the moment she enters the frame of her own camera; a space that highlights her decision to be before the lens as her own director, producer, editor, stylist and camera operator. This space serves as period, a question mark, or perhaps as an exclamation point to her motive and is suggestive of an era of time when the availability of technology and Web 2.0 merged in a unique way.
Twerk Nazareth is a video work depicting an animated image of a stripper taken from an exotic dancer costume website. For the duration of the piece, she twerks to the beat of Love Hurts (1975) by the Scottish rock band Nazareth in a contextless flat white space while peering over her own shoulder addressing the viewer of the video while the mechanical movement of her rear end remains as the only movement in the piece. The male voice sings, “Some fools think/Of happiness, blissfulness, togetherness/Some fools fool themselves, I guess/They're not foolin'me/I know it isn't true I know it isn't true..” and the lyrics lead the strippers digital twerk show, alluding to mishandled heart of the man, presumably by a woman. She, however, remains a constant. Not breathing, not thinking, not being, only twerking in a flat space for eternity to the tale of a scorned man who has been fooled by love.

Marco De Mutiis

Marco De Mutiis is an artist that works with different media and technologies and with an interest in issues of perception and communication. Often re¬-engineering and transforming old analog and mechanical devices, De Mutiis creates kinetic installations that concern with communication, language and physicality. Graduated with distinction from the MFA program at the School of Creative Media (City University of Hong Kong), he has shown his works internationally in festivals and galleries such as FILE Festival, ISEA and the Southern Alberta Art Gallery and he has been the recipient of the Bloomberg Digital Arts Initiative in 2013. He has worked as a senior research associate and part-time lecturer at City University of Hong Kong. He is currently working as Digital Curator at Fotomuseum Winterthur and Media Designer at Camera Arts Department at Lucerne University of Applied Sciences and Arts (Switzerland).
Vanishing is a project on the role of data in photography, and the tension between visual information and hidden data of digital image files. Created with a custom software that writes historical data to the image exif code, the photograph gets visually degraded while its data becomes enriched with the event information. This creates a hybrid document that reveals the complex ontology of digital images, standing between reading and seeing, coding and decoding and requiring the viewer to open the file code to make sense of the image. Vanishing consists of a series of digital image prints accompanied by small publications. The pictures are all appropriated images of iconic historical photographs, that have been “glitched” through a custom software. This software opens the image file (namely the Exif file) and writes additional data within the picture code. The intervention to the data file creates the visual loss of information, thus making the image visually degrading while at the same time making the information of the image richer. Vanishing attempts to reveal the tension between visual output and data processing in digital images, and to question the notion of photography as a document, interweaving the signifier and the signified, noise and signal.

Hope Hutman, Kristin Grace Erickson & Tom Johnson

Hope Hutman is an MFA Candidate in Digital Art and New Media at the University of California, Santa Cruz. She has worked with major movie studios and advertising agencies to create transmedia experiences mostly to sell stuff or to highlight cool technology which is what lead her back to school. She has a B.A. in English Literature from Grinnell College.

Kristin Grace Erickson is the technical coordinator for the Digital Arts and New Media program at the University of California, Santa Cruz. She received her Doctorate of Musical Arts degree from the California Institute of the Arts, and her B.A. and M.F.A. degrees in electronic music from Mills College. She performs, composes and records as Kevin Blechdom and with Blectum from Blechdom.

Tom Johnson is Artistic Director and founder of the Brody Theater in Portland, OR. He has performed and/or taught in Chicago, Berlin, Amsterdam, Antwerp, Vancouver & Victoria, B.C., Graz, Austria, Slovenia, and at Seattle’s International Festival of Improvisation. Tom has served as featured director at festivals and events in Slovenia, Italy, Canada, Australia, and Austria and is a charter member of the international performance group Orcas Island Project. He is a fanatical collector of old movie posters and 8mm and 16mm films.
Twitch Odyssey, appropriates the online game space of to explore the intersection of devised theater and collaborative filmmaking in a contemporary adaptation of Homer’s Odyssey. Twitch Odyssey, allows the audience, individually and collectively, to have a hand in creating and shaping the content and direction of the narrative. During the performance, moments of content, created by the audience, stream and our Homer character improvises – live and in real time – the narrative based on what he sees. In addition, the audience chooses the order in which the clips stream during the performance and are able to comment on what they see and what Homer says and what the other audience members are saying. Homer, too, is able to see those audience comments and incorporate what they are saying into the improvisations.

Chris Eben

Chris is a professional artist and software engineer, with a passion for developing innovative technology that inspires the human imagination. He graduated from the University of Illinois at Urbana-Champaign with a B.S.E. in Computer Science and was previously a software developer for Microsoft, Amazon, and Motorola.
“Construction Disruption" disrupts images as they're being displayed on the web. It distorts how the computer interprets image data, in an advanced manner rarely seen in a browser. The user may select an image along with two "disruptors," which are combined to alter the original image into a new creation. This work is also troublesome in its pesky technical requirements, enforced by deep architectural complexities. These frustrating limitations highlight the unflinching precision demanded internally by computers and are counterbalanced by the freeing pleasures of its highly subjective productions.

Tyler Kline

Tyler Kline is the curator of the Hamilton Hall Public Arts Initiative and Sculpture Shops Supervisor. He has worked in the sphere of urban intervention for two decades, beginning with creating skate-parks in unused urban spaces in Atlanta, to creating a sculpture garden in the shadows of re-purposed textile mills through Little Berlin in Philadelphia. He makes immersive installations and netart, and creates animated gifs as a way of exploring and constructing glitch theory. Kline’s own point of research within this field is to break the conceptual screen and release our fantasizes that are imprisoned within them by late stage capitalism.
These animated gifs use satellite images of classified military installations as a way of creating  engaging and hypnotic evidence that we can and do watch the watchmen, one dealing with data bend synesthesia to create internal landscapes, and one an ode to the re-purposed beauty of the cathode ray tech that is considered obsolete but continues to pick up and display the microwave background radiation of the universe.

Jon Montenegro

Jon Montenegro is an interactive artist based in Allentown, PA. After attending Tyler School of Art, he has worked in the interactive design field creating award winning online digital experiences. After more than a decade of computer generated art, Jon has been focusing on social media art, dynamic cell phone art and motion tracking interactive art.
I have been passionate about exploring ways of translating internet information into art. The interactive art and print pieces represent an artistic exploration, experimentation and research into social media, folksonomy, motion tracking and cell phone data as art. My inspiration comes from the behavior of nature and how people collectively move, think and collaboratively classify information. The art pieces included here explore folksonomy and manipulates data, information and people's posts away from their original intention. The pieces are ever changing as they are constantly retrieving the latest information from social media websites. The purpose is to explore ways of translating data into interactive art pieces, giving a new perspective of what dynamic data and content are... or can be.

Lisa Marie Patzer

As a digital media artist, Lisa Marie Patzer has been experimenting with interactive technologies, digital video, glitched images and web based interfaces as creative expression since 2001. Lisa Marie often collaborates with other artists, allowing her visual aesthetics to influence theater, dance, and music.
“Profile Confusion” explores how technology has had a disruptive impact on the performance of identity due to the increased occurrance of context collapse. The format of the project is a glitched video loop. Online networked environments that feature user-generated content, such as online social communities, transgress traditional boundaries distinguishing digital and physical spaces. The networked connections formed through on-line communities complicate the division between what is private and what is public. Social circles that were once discrete and separate collapse together online. Because of the collapse of social contexts online, the individual user of networked social spaces is faced with a complex set of decisions about how to represent themselves. “Profile Confusion” depicts Marty Freeman’s psychological experience when choosing her profile image. Marty struggles with her self-identity and tries on different personae through the rapid selection of different profile images. The frenetic change of images is interrupted with an occasional pause on a glitched image. The visual interruption of the standard profile images gives emphasis to the fact that technology has complicated or disrupted the psychological aspects of self-representation, especially online.

Michael Richison

After calling the Detroit, Michigan area home for a number of years, Michael Richison relocated to New Jersey in 2007. Currently a professor at Monmouth University, Richison teached Motion Graphics, History of Graphic Design, and Typography. He is a multimedia artist who utilizes a variety of media and approaches including graphic design, video, photography, sculpture, printmaking, drawing, custom electronics, custom software, and installation. He has also exhibited and performed at venues and galleries both nationally and internationally.
16 Step Social is a video beat sequencer comprised of a custom controller, a Max MSP Jitter interface, and the Instagram API. The performer downloads Instagram videos through the interface, edits the clips, builds rhythms, adds effects, and layers beats indefinitely. The Arduino-based controller was inspired by the Roland TR 808 and works in tandem with the computer interface. Audience members can participate during a performance by posting videos with a predetermined hashtag, which the performer can continuously, generating a visual and auditory feedback loop. The result is a spontaneous and rhythmic live set.

Video Voto Matic consists of a modified vintage voting booth and custom software. The voting booth houses an iMac running an original Max MSP Jitter patch that allows users to sample and remix current presidential primary debate footage. The patch was patterned after the legendary Roland TR 808 in that it sequences five individual video tracks, according to a sixteen-beat loop. The hardware mimics the punchcard-style voting machine used during the 2000 Florida election debacle.

TangenT Art Collaborative

TangenT is a collaborative dedicated to mixed-media, project-based, immersive art environments exploring socially relevant and politically current themes. Members include William Cromar, Yvonne Love, Gabrielle Russomagno and Michael Brenner.
/*REDaCT*/ is TangenT’s first immersive web experience. The website uses a simple Javascript function that randomizes both the content of a given page in the site and links from clickable or tappable images or text. This randomization subverts the predictable behavior assumed by the act of web-linking, and in so doing creates a non-linear, episodic narrative. The atmosphere remains consistently foreboding, but the order in which the narrative is experienced is, quite literally, never the same twice, even though the site is a closed system. /*REDaCT*/ belongs to a larger series of artworks that explore visual renderings of facts in redacted documents. Drawing from state and federal reporting on individuals and institutions along with redaction in its many forms, /*REDaCT*/ is a meditation on information control, privacy, and truth... what is left behind... what we choose to record, see, and know.

All work provided by artists. © 2016 retained by individual artists. Work used with permission for Out of Frame online Exhibition.
Website developed by Belinda Haikes.