2 New Videosculptures "Transcending the gyre_ Exquisite colonies of plasticized video symbiosis #1 + #2" 2015

"Transcending the gyre_ Exquisite

colonies of plasticized video symbiosis #1 + #2" 2015
(6) LCD screens,resin, acrylic, reclaimed/recycled plastics,
acrylic paints, salvaged driftwood, thermal formed plastics, archival imaged cast plastics,
reclaimed corals and sponges from South Florida's beaches,4 led networks, micro controllers,
media players, unique 1080p HD video

Two new videosculptures are currently on display in the window,[visible both day and night] 

"Williamsburg on Warren"
an exhibit & happening curated by Dam Stuhltrager, founder of THE WYE

featuring artwork by Mark Andreas, Ken Butler, Cris Dam, Mark Esper, Anna Frants, Ruth Marshall, Loren J. Munk, Disney Nasa Borg, Randy Polumbo, William Powhida, Carol Salmanson, Jeff Schneider, Kathleen Vance & Ryan Wolfe
            
Vernissage: JUNE 12 (6 - 10pm)
Exhibit Dates: June 12 – July 7, 2015

Venue: One Art Space
Address: 23 Warren St, NYC
Directions: A, C to Chambers
Hrs: Tues - Sat, 11:30am - 5pm

Video Documentation "Sculpting Life_Transcending the gyre_ exquisite colonies of plasticized symbiosis" 2015

"Sculpting Life_Transcending the gyre_ exquisite colonies of plasticized symbiosis" 2015
[A Re-Contextualization of the living marine reef ecosystem]
40 gallon custom acrylic aquarium,pumps, filters, actinic lights, resin,fiber optics,acrylic, reclaimed plastics, led's,thermal formed plastics, archival imaged plastics, 40 living corals,fish, shrimp, invertebrates, algae,1080p HD video with original audio track.
36 (w) X 92" (h) x 24 inches

  [dNASAb]’s most recent body of work has evolved in exciting new directions. These dynamic new works are informed via the intense observation of the living marine reef ecosystem. The artist maintains a full blown reef ecosystem in his studio in which he nurtures and propagates dozens of species of living corals, as well as the subsequent ecosystem needed for them to thrive, fish, invertebrates and bacteria. The artist refers to the reef aquarium as the “studio tank”, and as the name suggests it is a place of research into developing living sculpture. [dNASAb] conducts research utilizing new materials, species integration and optical systems in an effort to re-contextualize the reef environment.

  The underwater world has always been a source of inspiration for the artist but it’s this daily interaction with this pristine system that informs the new works in this series. The tank requires extreme measures to maintain suitable water chemistry and a sterile environment for the species to thrive, the most important step in this process is intense observation. Utilizing the same level of observation the artist has turned his discerning eye to the natural environments that are the foundations for a healthy reef. Sadly, the same standard of cleanliness does not exist in real life. What the artist has found on the beaches, in the Ocean’s, and strewn through the mangrove nurseries is horrifyingly inspirational.

  “Like an Ocean gyre, a vortex of artifacts of a consumption based contemporary society such as; plastic bottles and bags, fishing nets, and helium balloons become ensnarled with driftwood, dead coral, and seaweed creating a grotesques amalgamation of disparate materials which remarkably can still harbor life and be a sculptural framework for life to grow. I aim to develop work that embodies this contemporary conundrum.”

Special Thanks to Frederieke Taylor, Desiree Konian, Scott Williams, Larry Morris, Brian Bronzino, Warren Vanvarick, Bob Dellavechia, Ryan Michael Ford, Tyrome Salvatore Tripoli, Erik Pye, Lydia Kernodle, Justin Wood, Lauren Clark, Aquatic Visions, Sea Level Aquarium, MOTE Tropical Marine Research Lab and VoltaNY.

Photographs of Frederieke Taylor's presentation at VoltaNY 2015 featuring the works of [dNASAb]

 "Sculpting Life_Transcending the gyre_ exquisite colonies of plasticized symbiosis" 2015

[A Re-Contextualization of the living marine reef ecosystem]
40 gallon custom acrylic aquarium,pumps, filters, actinic lights, resin,fiber optics,acrylic, reclaimed plastics, led's,thermal formed plastics, archival imaged plastics, 40 living corals,fish, shrimp, invertebrates, algae,1080p HD video with original audio track.
36 (w) X 92" (h) x 24 inches

view of Frederieke Taylor's VoltaNY 2015 booth

view of Frederieke Taylor's VoltaNY 2015 booth

view of Frederieke Taylor's VoltaNY 2015 booth

"Vortex_Plasticized Gyre #4” 2015

Resin, acrylic, reclaimed plastics, paint,
wood, thermal formed plastics, archival
imaged plastics, reclaimed corals and
sponges, led’s.
19(h) x 14(w) x 14(l) inches

"Vortex_Plasticized Gyre #1” 2015
Resin, acrylic, reclaimed plastics, paint,
wood, thermal formed plastics, archival
imaged plastics, reclaimed corals and
sponges, led’s.
54(h) x 32(w) x32(l) inches

detail__"Sculpting Life_Transcending the gyre_ exquisite colonies of plasticized symbiosis" 2015

[A Re-Contextualization of the living marine reef ecosystem]
40 gallon custom acrylic aquarium,pumps, filters, actinic lights, resin,fiber optics,acrylic, reclaimed plastics, led's,thermal formed plastics, archival imaged plastics, 40 living corals,fish, shrimp, invertebrates, algae,1080p HD video with original audio track.
36 (w) X 92" (h) x 24 inches

Frederieke Taylor Gallery presents [dNASAb] at VOLTANY 2015 Art Fair, March 5- 8 2015, Pier 90, booth D19

"Transcending the gyre_ exquisite colonies of plasticized symbiosis #3"

[Sculptural Aquascaping_A Re-Contextualization of the living marine reef ecosystem]”
2015
Archival pigment print on Acrylic, edition of 7
60" x 34.4"

Frederieke Taylor Gallery presents [dNASAb] at VOLTANY Art Fair, 

Thursday March 5 through Sunday March 8 

PIER 90 [West 50th St at 12th Ave], Booth D19

“Sculpting Life, A re-contextualization of the living marine reef ecosystem” #2 2014 [Bloomberg Aquascaping Project by [dNASAb]

“Sculpting Life, A re-contextualization of the living marine reef ecosystem” #2 2014
[Bloomberg Aquascaping Project by [dNASAb]
Thermal formed plastics,hand cast archival images, 40 living corals, cast clear plastic 3d  fiber optic nodes,120 led's,acrylic, fiber optics,reclaimed/recycled plastics, aquatic resin, live rock, and a full marine ecosystem.

Sculptural Aquascaping, Lake George Sculptural Aquatic Interventions 2014 by [dNASAb]

"Sculptural Aquascaping, Lake George Sculptural Aquatic Interventions" 2014 by [dNASAb]
Found materials,recycled plastics, lake stones and driftwood,aquatic resin, 32 underwater led's

“Sculpting Life, A re-contextualization of the living marine reef ecosystem” 2014 by [dNASAb]

“Sculpting Life, A re-contextualization of the living marine reef ecosystem” 2014
Thermal formed plastics,24 hand cast archival images, 60 living corals, cast clear plastic 3d  fiber optic nodes,270 led's,acrylic, fiber optics,reclaimed/recycled plastics, aquatic resin, live rock, and a full marine ecosystem.

The artist [dNASAb] uses mixed media to evoke the forms, textures, and colors of the living coral reef, as well as the biodiversity of ocean life. A seasoned scuba diver, the artist seeks to share his experience of the underwater world’s perception changing power.

“The living coral reef ecosystem only covers about 1% of the ocean,” writes the artist, “but provides a full 25% of the oceans’ biodiversity. I am awed by the extreme degree of specialization these species have developed throughout their evolution. ”

[dNASAb] reproduces the shifting organic growth of the reef by allowing living invertebrates to fasten to the work, making the sculpture part of the living coral it seeks to mimic. In this way the sculpture- like the reef and its inhabitants-transforms over time. With its ability to create, regenerate, and evolve in real-time, [dNASAb]’s work reflects the corporate culture on the other side of the aquarium glass.

Employing plastics, LEDs, fiber optics, and other media, [dNASAb]’s  Aquascaping Project makes the connection between the rich biodiversity of the reef and the accelerating  social and cultural evolution of the world we inhabit on land.

*No aquatic life was harmed by sculpture installation or presence in the tank*

“Sculpting Life, A re-contextualization of the living marine reef ecosystem” 2014 by [dNASAb]

“Sculpting Life, A re-contextualization of the living marine reef ecosystem” 2014
Thermal formed plastics,24 hand cast archival images, 60 living corals, cast clear plastic 3d  fiber optic nodes,270 led's,acrylic,fiber optics,reclaimed/recycled plastics, aquatic resin, live rock, and a full marine ecosystem.

The artist [dNASAb] uses mixed media to evoke the forms, textures, and colors of the living coral reef, as well as the biodiversity of ocean life. A seasoned scuba diver, the artist seeks to share his experience of the underwater world’s perception changing power.

“The living coral reef ecosystem only covers about 1% of the ocean,” writes the artist, “but provides a full 25% of the oceans’ biodiversity. I am awed by the extreme degree of specialization these species have developed throughout their evolution. ”

[dNASAb] reproduces the shifting organic growth of the reef by allowing living invertebrates to fasten to the work, making the sculpture part of the living coral it seeks to mimic. In this way the sculpture- like the reef and its inhabitants-transforms over time. With its ability to create, regenerate, and evolve in real-time, [dNASAb]’s work reflects the corporate culture on the other side of the aquarium glass.

Employing plastics, LEDs, fiber optics, and other media, [dNASAb]’s  Aquascaping Project makes the connection between the rich biodiversity of the reef and the accelerating  social and cultural evolution of the world we inhabit on land.

*No aquatic life was harmed by sculpture installation or presence in the tank*

BLOOMBERG’S NEWEST ART INSTALLATION: THE AQUASCAPING PROJECT

July 1, 2014

Using mixed media – including fiber optic cables, fluorescent plastics, and LEDs – the artist [dNASAb] created a unique site- specific piece in 731 Lexington’s giant sixth floor fish tank. The artwork, called the Aquascaping Project, also employs living coral to reflect the organic, vibrant way in which our company grows and expands around the world.

https://youtu.be/dpxjh2eSj_s

Art installations in Bloomberg offices globally represent our commitment to excellence in design, innovation, access, and new technologies in the arts. Bloomberg partners with a wide-range of arts organizations.

"Sculpting Life; A Recontextualization of the living marine reef ecosystem" by [dNASAb] 2014[Bloomberg Sculptural Aquascaping Project]

"Sculpting Life; A Recontextualization of the living marine reef ecosystem" by [dNASAb] 2014

Thermal formed plastics,24 hand cast archival images, 60 living corals, cast clear plastic 3-d fiber optic nodes,270 led's,acrylic, fiber optics,reclaimed/recycled plastics, aquatic resin, live rock, and a full marine ecosystem. #fiberopticreef #futurereef  #sculptinglife #dNASAb [iphone pics of install--full release next week]

"Sculpting Life; A Recontextualisation of the living marine reef ecosystem" by [dNASAb] #FiberOpticReef #SculptingLife #FutureReef #Bloomberg

"Sculpting Life; A Recontextualisation of the living marine reef ecosystem" by [dNASAb] #FiberOpticReef #SculptingLife #FutureReef #Bloomberg #SculpturalAquascaping ____photo from install.

"Sculpting Life; A Recontextualisation of the living marine reef ecosystem" by [dNASAb] 2014

Thermal formed plastics,24 hand cast archival images, 70 living corals, cast clear plastic 3d  fiber optic nodes,270 led's,acrylic, fiber optics,reclaimed/recycled plastics, aquatic resin, live rock, and a full marine ecosystem.

Installed on June 27th and June 28th, 2014 in the Bloomberg Tower at 731 Lexington Avenue,NYC. Housed in the central  7 story Atrium known as the "Link" that overlooks the courtyard. The living sculpture resides inside of a 3,000 gallon Marine Reef Ecosystem Tank.

 special Thanks to Michael Bloomberg, Patti Harris, Lauren Smiith, Beth Mazzeo, Heather Harris,Kara Finnerty, Paul Kasmin, Scott Williams, Bobby Dellavecchia, Larry Morris, Desiree Konian and everyone else who was an integral part in facilitating the actualization of a dream.

"Aesthetics of Decay, Design for Dying Electronics_pixel ooze" exhibited in "Separation Anxiety" at WALLPLAY, NYC

http://vimeo.com/88284071

"Aesthetics of Decay, Design for Dying Electronics_pixel ooze" 2014 by [dNASAb]
1:40 mins excerpt, 1080p HD, 24 fps with original audio.

Exhibited in "Separation Anxiety" at
Wallplay gallery, 118 Orchard Street NY NY 10002
Opening Reception March 8th, 7-10pm
March 8th -April 1st._Curated by Lee Wells & Laura O'Reilly

"Demand Privacy- Art and the Loss of Anonymity in the Age of NSA Mass Data Collection.gif" 2014 by [dNASAb]

"Demand Privacy- Art and the Loss of Anonymity in the Age of NSA Mass Data Collection.gif" 2014

"Screenscaping #4" 2014 ,2 Channel Video Projection Mapping Sculpture by [dNASAb]

"Screenscaping #4" 2014 ,2 Channel Video Sculpture, (1) 32" LED screen,video projection mapping on a sculpture embedded with 18' of sound activated L.E.D's, Auto-start HD Media Player, 1 of 1 video/audio track.

Video documentation of the VideoSculpture "Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

"Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben".
16 LCD screens, 48 ft of LED's,cast plastics, speakers, auto-start media players, HD audio/video tracks120 in. x 120 in.(10 ft x 10 ft )

"The instant my mother passed away; every screen in the house-glitched-and froze, my sister says "there she is" pointing at the screen,and she was right"[dNASAb]

A site-specific video sculpture built on location in Berlin,Germany. It is comprised of 16 individual screens in the range of iPad/Tablet to iPhone/Android and iPod/non-smartphone sizes.
The 1080P HD video and audio tracks were also rendered/created in Berlin. 

It was created for the show "Paradigm Shift ,part of Cyberfest 2013,organized by Cyland Media Art Lab.
It is on long-term exhibition in Berlin,Germany at The WYE,Berlin.If you'd like to interface with the piece, I'd be delighted to arrange a visit.

Excerpt of Video Art that animated the 16 channel Video Sculpture "Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

1:35 min excerpt of Video Art that animated the 16 channel VideoSculpture "Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

16 LCD screens, 48 ft of LED's,cast plastics, speakers, auto-start media players, HD 1080p audio/video tracks 120 in. x 120 in.(10 ft x 10 ft )

"The clarity of the bubbling video goo, oozing from the cracks and melted holes in the led screen, jittered glitch-y line drawings of sadness, whilst I killed it." [dNASAb]

Site specific Berlin Video Sculpture "Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

 ""Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben".
16 LCD screens, 48 ft of LED's,cast plastics, speakers, auto-start media players, HD audio/video tracks.120 in. x 120 in.(10 ft x 10 ft )

A site-specific video sculpture built on location in Berlin,Germany. It is comprised of 16 individual screens in the range of iPad/Tablet to iPhone/Android and iPod/non-smartphone sizes.The 1080P HD video and audio tracks were also rendered/created in Berlin. 

It was created for the show "Paradigm Shift ,part of Cyberfest 2013,organized by Cyland Media Art Lab.
It is on long-term exhibition in Berlin,Germany at The WYE,Berlin.If you'd like to interface with the piece, I'd be delighted to arrange a visit.

16 screen Video Sculpture "Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

"Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013
16 LCD screens, 48 ft of LED's,cast plastics, speakers, auto-start media players, HD audio/video tracks
120 in. x 120 in.(10 ft x 10 ft )

Video Sculpture "Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

"Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013
16 LCD screens, 48 ft of LED's,cast plastics, speakers, auto-start media players, HD audio/video tracks
120 in. x 120 in.(10 ft x 10 ft )

"Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013

"Screenscaping Berlin _ Ästhetik des Verfalls; Design for Electronics Sterben" by [dNASAb] 2013
16 LCD screens, 48 ft of LED's,cast plastics, speakers, auto-start media players, HD audio/video tracks
120 in. x 120 in.(10 ft x 10 ft )

Video Still_(new Berlin version)_" Ästhetik des Verfalls; Design for Sterben Electronics" 2013

Video Still_(new Berlin version)_ "Aesthetics of Decay;Design for Dying Electronics [Ästhetik des Verfalls; Design for Sterben Electronics]" 2013

"Mediated Nature_"to concretize that which, technically, is without existence”' 2013, Archival pigment print, 40" w x 30" h, edition of 7 by [dNASAb]

"Mediated Nature_"to concretize that which, technically, is without existence”' 2013, Archival pigment print, 40" w x 30" h, edition of 7 http://dnasab.net/photography/

[dNASAb] exhibits works in "The Silver Shore" at GRAHAM gallery (est.1857) NYC- July 11th, 2013 6-8 pm.

"Dataclysmic 4", 2011. 22" LED screen, Digital Media Player, LEDs, steel, silicon, plastic, fiber optics, 720P HD video. dimensions variable. Gallery installation.

NEW YORK - On Thursday, July 11^th from 6 - 8PM, GRAHAM will host an opening reception for its summer exhibition, The Silver Shore. 

 Graham's contemporary program began with American realism and over the years has shifted toward abstraction. The Silver Shore is a thematically curated exhibition that pays homage to the core of our contemporary program while integrating the diverse approaches and new technologies that can be found in contemporary art today.

Among the participants are artists who have a history and association with GRAHAM, artists established on the Lower East Side, and emerging artists. From the passionate realism of Diane Andrews Hall's wave paintings to the conceptual abstraction of John Zinsser's snaking rivulets of flat paint, the exhibition as a whole has the lightness and playfulness of a summer retreat. A sound installation using live data feeds to explore the tides by Adam Bach and Ellery Royston, a floating videoscape by [dNASAb], an interactive painting on digital canvas by globHammer, boundary pushing paintings by Ryan Michael Ford and Adam Parker Smith, and elegant sculptures by Afruz Amighi and Carolyn Salas are some of the diverse methods of expression brought to bear on a single theme.

Participating artists:

Afruz Amighi, Mary Armstrong, Adam Bach, Brent Birnbaum, [dNASAb], Stoney Conley, Ryan Michael Ford, globHammer, Diane Andrews Hall, Stephen Hannock, Jim Lee, Shelly Malkin, Mary McDonnell, Bruce Monteith, Andy Moses, Anna Poor, Ellery Royston, Carolyn Salas, Eric Shaw, Adam Parker Smith, Kimber Smith, Daniel John Weiner, John Zinsser

Curated by Craig Poor Monteith 

 For additional information or to request publication quality images, please contact info@graham1857.com

[dNASAb] exhibits 2 new video sculptures in [Shoot ] at Lesley Heller Workspace gallery.

"Screenscaping #2" 2013 ,7 Channel Video Sculpture, (1) 19" LED screen, (1) 7" LCD screen (5) 3.5" LCD screens , fiber optics, printed plastic, glass, metal, Auto-start HD Media Player, 1 of 1 video/audio track.
 http://youtu.be/W8Yi0Om8Y_Q 

 Exhibition: [Shoot] at Lesley Heller Workspace
54 Orchard Street New York, NY 10002
June 5 through July 3, 2013 
Opening reception: June 5, 2013, 6-8 pm

 [dNASAb] exhibits 2 new video sculptures in [Shoot ] at Lesley Heller Workspace gallery..

 [dNASAb] creates video sculptures that are based on the aesthetics created in the destruction of the screen. He begins by purchasing a brand new screen. Takes it out of the box and breaks it. During each step of the process of breaking it he photographs, in High Definition stills, the effects. He then layers those HD stills in myriads of layers in After Effects. The resulting videos “conceptually render the brand new screens; that these films are displayed on; broken, glitch-y and useless”. He then samples the best stills of the new HD video, and extrudes them into a third dimension via archival printed plastics. He juxtaposes the plastic images with clusters of lcd screens, fiber optics, LED’s, glass, mirrors, crystals and plastics on the surface of the largest screen to create the “Screenscaping” and “Aesthetics of Decay” video sculptures.

http://dnasab.net/ 
http://www.lesleyheller.com/ 
http://www.frederieketaylorgallery.com/

[dNASAb] will be exhibiting new photographs from 2012 at Lesley Heller Workspace Gallery NYC , Mar. 10th 2013

"Extreme feats of the New Aesthetic_Glitchhike#3" 2012 ,archival pigment print 40" h x 31.5" w , edition of 7

[dNASAb] will be exhibiting new photographs from a 2012 series entitled "Extreme feats of the New Aesthetic" at Lesley Heller Workspace gallery in the LES, 54 Orchard Street, NYC, Opens March, 10 2013 6-8 pm reception  http://www.lesleyheller.com/

New Video Sculpture in the studio 2013,"Screenscaping #3" 2013 4 Channel Video Sculpture

"Screenscaping #3" 2013 ,4 Channel Video Sculpture, (1) 19" LED screen, (3) 3.5" LCD screens , fiber optics, printed plastic, glass, metal, Auto-start HD Media Player, 1 of 1 video/audio track

Galeria Trama "Y Picasso Cogio iPad" Barcelona,Spain exhibition

Video still of "Aesthetics of Decay, Design for Dying Electronics", 2012 , HD video currently exhibited in in Barcelona,Spain at Galeria Trama "Y Picasso Cogio iPad" [and Picasso took his iPad] ,curated by Paco Barragán

Galeria Trama, Barcelona, Spain Inaguració: "Picasso habla con Picasso" Performance de Paco Barragán i Pedro Barbeito dijous 25 octobre 2012 a les 19:30h 25 octubre / 27 novembre 2012

ART21 writes a review of "Colliding Complexities" show

ART21 + Nettrice Gaskins report on a group exhibition highlighting the complex intersections between art, science and technology.

http://blog.art21.org/2012/10/02/colliding-complexities_extreme-feats-of-the-new-york_new-aesthetic/#more-71149

 

Bricolage is a French word, with no direct equivalent in English. It connotes the process of finding out how to make things work, not from standard rules or methods but from messing around with whatever materials are on hand. This term suggests a sense of improvisation and tinkering that transforms the context and meaning of these objects, such as in works created by Sarah Sze. This is an important concept in contemporary art production and entrepreneurship. Michael Rush notes postmodern aesthetics discourse regarding how recent social-economic changes produce particular structures of feeling or cultural logics that are reflected in new art forms. Postmodernism also implies that we’ve run out of things to say. I think that we need to cast a much broader net to capture the spirit of the moment we’re in now; and expand definitions to capture innovative ideas such as the free use of digital images, objects and information. Holland Wilde writes that a bricoleur produces a “pieced-together set of representations that is fitted to the specifics of a complex situation…(it) is pragmatic, strategic and self-reflexive.” This blog post highlights artists and works as part of evolving creative practices that explore the spatial, social and cultural (techno­vernacular) dimensions of the material and virtual in a variety of ways. more…..

"Colliding Complexities: Extreme Feats of the New York-New Aesthetic"

"Colliding Complexities:
Extreme Feats of the New York-New Aesthetic"
http://newaestheticism.tumblr.com/

featuring:
Pedro Barbeito, [dNASAb], Cliff Evans,Carla Gannis, 
Shane Hope, Michael Rees, John F. Simon Jr., 
Vargas-Suarez Universal, Oliver Warden, Marius Watz

September, 21st - October 7th, 2012
opening reception: Friday, September 21st, 7-10 pm

curated by [dNASAb] in collaboration with the
Frederieke Taylor Gallery 

PRATT Department of Digital Arts will host a Panel Discussion on
“Colliding Complexities-the New York-New Aesthetic” Oct.2nd, 6:30-8:30 pm.

StorefrontBushwick
16 Wilson Avenue,Brooklyn, NY 11237_tel. # (917) 714-3813
www.StorefrontBushwick.com

"Extreme feats of the New Aestheticism" 2012 [dNASAb]

"Extreme Feats of the New Aestheticism" 2012 [dNASAb]

"Extreme Feats of the New Aestheticism" 2012 by [dNASAb]

"Anonymous vs. Siri _Anonymous Message to the People, Battle Over Anonymity" by [dNASAb]

"Anonymous vs. Siri _Anonymous Message to the People, Battle Over Anonymity" by [dNASAb]



Anonymous has carefully crafted an aesthetic that surrounds their message. I have absorbed the aesthetic and manipulated it. In an attempt to enhance their aesthetic I created several unique video sculptures to incorporate into the film. The film also incorporates video projection mapping, video optics, video sculptures embedded with infrared surveillance cameras, CCTV system, LCD screens, and L.E.D's. I envision the exhibition of this project as an immersive multi-channel video installation.

Anonymous, Message to the American People "You are being Surveillanced" March1st 2012

"Anonymous,Message to the American People "You are being Surveillanced" March, 1st 2012



I am not a Hacktivist, but rather an artist. I believe the responsibility of great art is to raise more questions than answers. This video art series is an attempt to broaden the dialog surrounding the beliefs and methods of the group Anonymous; and the intersection of our own personal freedoms, private vs. public information, and the future of Neutrality on the Internet. This video was specifically uploaded and distributed via the internet on March 1st 2012, the exact day that Google launches its new Privacy policy, allowing them to harvest and sell more of your private data. Again, in an effort to raise questions surrounding how, why and to what extent is your personal data is being mined.

[dNASAb] is participating in a panel discussion at The New School, Eugene Lang College,NYC

[dNASAb] is participating in a panel discussion "Realizing an artistic concept with the use of Technology" at The New School, Eugene Lang College,NYC moderated by John Ensor Parker, and featuring guest artists Jason Krugman, dNASAb, Pat Lay and Nurit Bar-Shai, on Thursday October 27, 6-7 pm at The New School, Eugene Lang College,65 West 11th street.

[dNASAb] "Aesthetics of Decay; Design for Dying Electronics #3" 2011

"Aesthetics of Decay; Design for Dying Electronics #3" 2011, 1080p HD Video, edition of 5 + 2AP
1 min. exerpt of large multi-channel video installation.
[dNASAb]/Frederieke Taylor Gallery

This HD Video comments on the lifespan of current consumer electronics, and the inevitability of their deaths. I engage in the destruction of screens in the studio, the broken screens and the inherent designs created by the organic nature of the cracks have been photographed, studied and have influenced the aesthetics of the video. By mapping video into the broken areas and juxtaposing multiple videos within the design, a glitching video has been created. In the action of playing this video on your iPad ,computer screen or HD tv screen, you are virtually rendering your own screen broken. The dichotomy of the ever newer screen playing HD content that turns your new screen into a dying screen highlights the inevitability of the death of your own hardware. While simultaneously revealing the beauty of the decay and death of electronics and questioning the lifespan of display screens. The video actually ends with the destruction of the screen.

[dNASAb] 2011

[dNASAb] exhibits in "Haywire" at Storefront Gallery

HAYWIRE:
an exhibition exploring the idea of the off-kilter, the psychedelic, and the zany lurking below the surface of everyday reality. Featuring the work of Leslie Alexander, Maria Calandra, Elisabeth Condon, [dNASAb], Francesco Longenecker, and Mary Jones.

and in the back room
DRAWN:
new works by Elizabeth Berdann, Holly Coulis, Cynthia Hartling, and Kate Teale.

STOREFRONT Gallery.The show opens with a reception on Friday, September 30 from 7-10PM and will be on view through October 23. For more information, contact Jason Andrew at 646-361-8512 or visit www.storefrontbk.com


"From the Wall," a painting by Mary Jones featured in HAYWIRE

ARTCASTE speaks with artist [dNASAb] 2011

[dNASAb] "Dataklysmos": Multidimensional Sculptures April 30 - June 4, 2011 at Irvine Contemporary, Washingto D.C

[dNASAb]
Dataklysmos: Multidimensional Sculptures
April 30 - June 4, 2011
Opening Reception with the Artist: Saturday, April 30, 6-8PM

Irvine Contemporary is pleased to announce Dataklysmos, an exhibition of new multimedia sculptures by [dNASAb]. [dNASAb] is a Brooklyn-based artist who constructs complex, multidimensional works that visualize the world of data and the materiality of digital technology in new ways. In the age of hybrid media, the artist has created a name as an acronym for "Disney-NASA-Borg," and works in multidimensional sculptures as a deconstruction of what he sees as the "Disneyfication" of our post-digital imagination. This turn is exemplified in our acceptance of Toy Stories versions of the reality in and behind our daily technology consumables. Dataklysmos presents another visualization of our datasphere in the context of Washington, DC, a region that is home to firms that manage Internet architecture and provide major connecting nodes for global Internet data traffic.

The works by [dNASAb] present the question "what if we could reimagine the datasphere in all its materiality, open the black boxes, watch what happens at light speed behind our computer screens, expose the tangled wires, naked circuit boards, and bare hardware in a machine erotics, the secret life behind the screens." Like a scene from William Gibson's influential novel, Neuromancer, we find the contradictions of an imagined digital utopia dependent on hacked-together machines terminating in messy, unreliable human wetware.

[dNASAb]'s luminous complexity models work to expose the hidden density of sheer material stuff that feeds our media and computer devices. Our media technologies present themselves in conflicting material forms: on one side we have the sleek, thin, flat-panel, high-res screens of all sizes, the intentional black boxes of the iPhone/iPad, and the metal and plastic hinges of laptops that close with a neat codex clasp. On the other, we have the messy tangle of parts and wires visible inside a broken PC or TV, and the rat's nest of cables, wires, Wi-Fi routers, AC adapters, and extension cords behind every desk and and living room entertainment unit. Behind it all are overwhelming flows of data, information, and signals that we keep mainly invisible, cables snaking through the walls to the neat wall jack in our office or living room or devices working wirelessly and dependent on invisible radio waves.

The metaphors we use for data conduits are telling: optical glass fibers as waveguides, light pipes, electronic pulses converted into the clarity of pure light. Our computer screens, mobile phones, HD TV screens, iPads, are all back-ended with long-haul optical fiber networks that carry dematerialized signals to the resubstantiated material connections of our physical displays. Or so we imagine. Ghosts in the machine. [dNASAb] gives the invisible technologies a new aesthetic rematerialization, taking .

In recent theory about being human in the digital network era, our bodies and organs have become convertible "prostheses," extensions as interfaces between the organic and cybernetic: we function as terminals or projections of dataworlds and entertainment spectacles, digital devices in our hands and ears, and screens in all sizes always within eyeshot everywhere we are. Some of [dNASAb]'s works and videos visualize a posthuman body where we have become human projectors and terminals for the digital domain. We act as agents activating a network and as terminal points in a global infosphere, but are unaware of the material conduits of datastreams surging at light speed underground, through floors and walls, and converting themselves into radio waves that terminate in the devices we touch, hold, view, and carry.

[dNASAb] draws from several art historical and conceptual sources from Nam Jun Paik to recent digital media art. He draws from Paik's television sculptures, installations, and video projections and Paik's strategies to expose the fetishizing of the screen and television as a presence in lived space. His works can be compared with Julie Mehertu's large-scale paintings of global networks, cities, and connecting infrastructures and with Matthew Ritchie's paintings and sculptures.

About the artist

[dNASAb] has a BFA in Sculpture and Mixed Media from Florida State University, and participated in the International Summer Residency at the Experimental Television Center, Owego, NY (2006), where he worked with the “Wobulator,” Nam Jun Paik’s pioneering video synthesizer. In 2010, [dNASAb] was awarded a scholarship at Harvestworks Digital Media Arts Center, New York, and an Artist's Residency at the Institute for Electronic Arts, Alfred University, New York. He was recently an Artist Honoree at the BRIC Contemporary Art Gala, 2010, "Brooklyn Art:Work". [dNASAb] has exhibited widely in the past ten years, including exhibitions in New York, Moscow, Basel, Switzerland, Seoul, South Korea, and Paris. He produced a solo installation of new works at Volta, New York (March, 2011), and a solo exhibition in New York with Frederieke Taylor Gallery (2010). He is featured on the MoMA-P.S.1 "Studio Visit" site. He presented his work in the "Contemporary Art + Social Media" lecture at Art Salon, Art Basel-Miami Beach (2009) [view video]. [dNASAb] will have a solo exhibition at the Museum of the Moving Image, NY, next year. The artist lives and works in Brooklyn, NY.

http://irvinecontemporary.com/otherExhibitions.php?eventID=122

VOLTA NY 2011 [dNASAb]

[dNASAb] and Frederieke Taylor Gallery collaborated on a wildly successful booth during NY's Armory Week, at Volta Ny 2011.

http://ny.voltashow.com/dNASAb.6620.0.html
[dNASAb] will participate in the next edition of VOLTA NY which will take place from Thursday, March 3 - Sunday, March 6, 2011.
VOLTA NY is an invitational show of solo artists’ projects and is the American incarnation of the successful young fair founded in Basel in 2005. VOLTA NY was conceived by art critic and fair director Amanda Coulson to continue the original mandate of a tightly-focused, boutique event that is a place for discovery. Both Basel and New York fairs provide a showcase for current art production and relevant contemporary positions regardless of the artist or gallery’s age.
By putting the focus back on artists through exclusively featuring solo projects, VOLTA NY promotes a deep exploration of the work of its selected projects, an opportunity for discoveries that move beyond those afforded by a traditional art fair. While many fairs provide a broader overview, with more represented artists in each booth, visitors to VOLTA NY compare the experience to a more focused series of intense studio visits.
A platform for challenging, often complimentary, sometimes competing ideas about contemporary art, the strictly solo format is what gives the New York fair its unique character.
“dataclysmic_MemoryObscuraMobilaria" 2010
LED’s, aluminum,resin, phosphorescent silicon, plastic, fiber optics, acrylic, dimensions variable