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aestheticgoddess:

Adrian Esparza transforms Mexican serape blankets into intricate geometric thread installations

artslant:

Group Show ‘2014 Whitney Biennial’ at Whitney Museum of American Art
www.artslant.com/ny/events/show/319128-2014-whitney-biennial

artslant:

Group Show ‘2014 Whitney Biennial’ at Whitney Museum of American Art

www.artslant.com/ny/events/show/319128-2014-whitney-biennial

arvidabystrom:

A Pizza Box Plinth. Jennifer Chan. VSVSVS Toronto. March 16 2012.

arvidabystrom:

A Pizza Box Plinth. Jennifer Chan. VSVSVS Toronto. March 16 2012.

(via im-marthadaly)

aestheticgoddess:

Adrian Esparza transforms Mexican serape blankets into intricate geometric thread installations

artslant:

Group Show ‘2014 Whitney Biennial’ at Whitney Museum of American Art
www.artslant.com/ny/events/show/319128-2014-whitney-biennial

artslant:

Group Show ‘2014 Whitney Biennial’ at Whitney Museum of American Art

www.artslant.com/ny/events/show/319128-2014-whitney-biennial

(Source: iraffiruse, via c0caino)

(Source: onlyamethyst, via c0caino)

(Source: blackisthenewgod, via c0caino)

(Source: drugsworkco, via c0caino)

arvidabystrom:

A Pizza Box Plinth. Jennifer Chan. VSVSVS Toronto. March 16 2012.

arvidabystrom:

A Pizza Box Plinth. Jennifer Chan. VSVSVS Toronto. March 16 2012.

(via im-marthadaly)

About:

I am often inspired by psychology and various disciplines within the humanities, as well as multisensory video performance. My latest work references ideas of cognitive psychology, specifically cognitive dissonance, distortion, double-consciousness, and catastrophizing. It uses the mixing of analog video and audio as a metaphor for these mental processes and focus on the feeling of discord as each signal fights for airtime.

An incessant stream of images and messages assault our consciousness on a minute-by-minute basis, during which our egos attempt to reach equilibrium. This conflicting information must be processed in order for the individual to function in society. These expectations and demands have deep cultural roots that seemingly pre-exist media outlets, but are reinforced by them just the same.

My work deals with this discomfort, which is not limited to a mere moment but is instead ever-present. We often live in a constant state of mental anxiety and chaos, a cacophony of stimuli and expectations. This translates into the breakdown of the image, which ironically can produce formally pleasing results.

Glitch art is often described as the moment when technology is made transparent, or when “the machine reveals itself.” I use this framework to mirror a psychological state, while also referencing previous movements such as Dada and Fluxus. I am also inspired by VJ performance and DIY culture.

I use mostly outdated technology because it highlights the contrast between our desire for the newest and greatest and the availability of the obsolete.

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