Opening Reception: Friday, August 10, 6-9 pm
Garden of Digital Delights
As children, we imitate what we experience to comprehend the world. As adults, our comprehension and mirroring of the world grows more sophisticated, yet often is still a limited understanding of physical phenomena. For example, trees are fascinating conduits of sunlight, oxygen, and nutrients, and provide inspiration for human created communication channels, especially those of a digital nature. The term ‘branching,’ an everyday term in algorithms, is a clear example as is the term ’root node.’ In fact the roots of trees and the surrounding fungus, aka mycellium, intersect together in arguably the first ‘neural net.’ However, Tim Ingold would argue that without inherent flexibility and growth, our re-creations are but hollow fossils, shallow imitations of the rich and fascinating world around us. Hence, our digital creations and conveyances are usually limited to that which the author was capable of imagining. This means they are by nature brittle and static where they should be dynamic and flexible. William Kentridge laments, "that we, as human creators, start out with a blank canvas yet always end up creating the same ‘coffee pot.’"
Garden of Digital Delights is a garden of human construction, suspended in cyberspace, forever unable to root. Branches are hollow and segmented for convenient re-assemblage and threading. Yielded fruits are tools of mediation and must be used to create rather than directly by hand. Electronic transmissions mimics conveyance of nutrients, yet nothing may grow from such transmissions, they may only light the way.
Cindy Sherman Bishop is an innovative multimedia artist and creative coder. She has created interactive installations for galleries and museums, as well as software for enterprise applications, but is sometimes happier just making good old fashioned tangible art. Hence, she often looks for ways to pull the nuances of analog creation into the digital world and vice versa. With her fellowship at the MIT Open Doc lab, she has authored several tools for storytelling in webVR, the primary being VRDoodler, a web-based 3D drawing program that renders in virtual and augmented reality. She is currently on board at the MIT Civic Media Lab on the Media Cloud team, building the next generation of web-based tools for journalists, researchers and media-makers.
Karen Cappotto is inspired by evidence of the handmade in a world where technology prevails and is known for her distinct palette and combination of medium.
Cappotto’s work is in PAAM’s Permanent collection and she has received multiple awards and prizes for her mixed media constructions. In 2011, her company Peg+Dick was launched when Mitchell Gold + Bob Williams asked her to produce their decoupage accessories. Her work has been seen in Elle Decor, The Washington Post, Provincetown Arts, and This Old House.
Cappotto is a founding member of the non-profit group Provincetown Commons, dedicated to developing a sustainable creative economy in the place that continues to inspire her work.
Cappotto is represented by AMP Gallery.
The series Levitation by Zammy Migdal had its origin in Zammy’s interest in suspending objects against gravity. Levitation, from the Latin levitas or lightness, is the process by which an object is suspended against gravity. The illusion of levitation is created by the relationships among metal foregrounds, attaching pins, spaces, light and shadows. The work is inspired by the colors and experiences of traveling to places like India, Israel and Brazil as much as by the spaces for which they are commissioned.
Zammy Migdal's work is found in private collections throughout the world and Art in Public places.
Beyond the Shore
Van Cauwenbergh’s works are resolutely abstract, and much of their success lies therein. These paintings work as pure paintings, which do not require references to the world outside of the picture -say to landscape, or to the body- in order to succeed. These paintings work because of the sureness of hand with which the medium is wiped onto the support, while leaving just the right amount of space for accidents to occur, the sureness of taste in the juxtaposition of colors and tones, and the artist’s expert editing skills. For Van Cauwenbergh knows when to stop, and he knows what works to eliminate from his oeuvre -for not all of these process-oriented paintings can achieve the right balance between tension and the sense of release, or relaxation.
(Fragment from essay “Veils of Paint”, Michaël Amy, Ph.D, 2015)
Marc Van Cauwenbergh was born in Ninove, Belgium and lives and works in New York since 1994. He studied printmaking at the Higher Institute of Fine Arts Sint-Lucas in Ghent and holds an MFA in Painting from Pratt Institute in Brooklyn, NY while on a Fulbright-Hays grant.
He has exhibited internationally since 1984 and his work is in private, public and corporate collections such as Leslie-Lohman Museum of Gay and Lesbian Art (NY), Collection of the Belgian Ministry of Foreign Affairs (Brussels, BE), Centre de la Gravure et de l’Image Imprimée (La Louvière, BE), Pratt Institute (Brooklyn, NY), EBES (Ghent, BE), St-Lucas (Ghent, BE).