[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

"SCIENCE FICTION": a group exhibition at the STOREFRONT gallery

Proud to be representing Bushwick in this group show that opens tonight "SCIENCE FICTION": a group exhibition featuring new work by Nancy Bowen,[dNASAb], Ben Godward. Meg Hitchcock, Jeff Hoppa, Linda Herritt,Marjorie Van Cura, and Letha Wilson. at the STOREFRONT gallery http://www.storefrontbk.com/exhibitions.html

This is an image of the piece I am exhibiting for "Science Fiction", a small free-hanging sculpture, from the series "dataclysmic", Opens at STOREFRONT gallery, tonight, 11.19.2010

“dataclysmic_FIOSprototype" 2010
LED’s, aluminuml,resin, phosphorescent silicon, plastic, fiber optics, acrylic, dimensions variable

Guggenheim/Youtube Creative Video Biennial "Play" submission by [dNASAb]

"Projecteurs de l'Homme" ("Human Projectors") 2010
HD Video, edition of 5 + 2 AP, 2.07 mins.
Guggenheim/Youtube Creative Video Biennial "Play" submission by [dNASAb]

Via the use of evolving technologies, we are projecting ourselves into a virtual, digital domain. It's a pivotal time in human creative history. We are evolving from merely consuming content to actually creating content. We are building our avatars, and online identities, broadcasting our lives, transmitting our gps coordinates, tweeting our thoughts, and uploading glimpses into the way we want our lives to be perceived by others.

We are also living a larger majority of our lives online, in the info-sphere. Many of us have more daily interactions with humans via technology than real-life human interactions, or more "online" friends than "real" friends that you have actually interfaced with face-to-face. We have begun "being digital", we have begun moving closer to traveling back in time, we have begun becoming immortal, we are populating virtual spaces. We are inhabiting the info-sphere.
This is not the future. This is now! It is a revolution! "We are human projectors"


[dNASAb]

[dNASAb]'s Studio Visit, P.S.1’s new web initiative that offers virtual presentations of artists’ studios.

http://ps1.org/studio-visit/artist/dnasab
Click through [dNASAb]'s "Studio Visit"

Welcome to Studio Visit, P.S.1’s new web initiative that offers virtual presentations of artists’ studios. Studio Visit will serve as an online artistic hub and provide viewers a look at the varied artistic practices located within one city; the five boroughs and greater New York area.
http://ps1.org/studio-visit/

[dNASAb] Art Basel, Miami 09', panel discussion "Contemporary Art and Social Media"

Art Basel, Miami 09', [dNASAb] speaks in panel discussion
"Contemporary Art and Social Media", part of the "Art Salon" program,Thursday Dec. 3rd at 6pm, in the Miami Beach Convention Center,Art Basel Miami 09', Pecha Kucha presentation format,curated by Carl Hilderbrand.

other speakers.Dylan Fareed, Ben Davis, Lori Faye Fischler, Leyden Rodriguez, Jody Turner..
click link to view full panel discussion.
http://www.artbaselmiamibeach.com/go/id/jdn

“dataclysmic_ LEDVHD” 2009-2010

“dataclysmic_ LEDVHD” 2009-2010
19” LED HD 720p screen, Digital Media Player, LED’s, welded steel,resin, phosphorescent silicon, plastic,fiber optics, 1 of 1 720P HD video

Frederieke Taylor Gallery presents "dataclysmic", new works by [dNASAb] Jan. 7th 2010

"dataclysmic"7 January - 20 February 2010
Opening Reception: Thursday, 7 January, 6-8pm

FREDERIEKE TAYLOR GALLERY
535 West 22nd Street, 6th Floor
New York, NY 10011
t. 646.230.0992
www.frederieketaylorgallery.com
www.frederieketaylorgallery.blogspot.com

Frederieke Taylor Gallery presents "dataclysmic", new works by [dNASAb] Jan. 7th 2010

"dataclysmic"7 January - 20 February 2010
Opening Reception: Thursday, 7 January, 6-8pm

In the Project Room, Frederieke Taylor Gallery presents dataclysmic, new works by [dNASAb]. [dNASAb] is known for creating new-media video work, utilizing consumer electronics and complex sculptural systems. The artist sees these technologies as raw materials for the creation of his work which have a distinct aesthetic, capturing velocity, direction, and evolutionary motion.

The video sculptures combine biomorphic forms with new technology to create a new living organism, using hand-blown glass, phosphorescent silicone and video optics. The new photographic works are energetic abstractions, created in nature in the transition zone between the surf and the shore. The photographs uniquely combine his mixed media sculpture with the unpredictable elements of the wind and ocean waves.

This is dNASAb’s first solo exhibition at the gallery. His works are exhibited frequently in the United States, and his work has been exhibited internationally in various locations including galleries in Paris, Basel Switzerland, South Korea, and Istanbul. His works are included in numerous private and corporate collections.-

FREDERIEKE TAYLOR GALLERY
535 West 22nd Street, 6th Floor
New York, NY 10011
t. 646.230.0992
www.frederieketaylorgallery.com
www.frederieketaylorgallery.blogspot.com

[dNASAb] participates in a panel discussion at Art Basel called, "Contemporary Art and Social Media"

[dNASAb] participates in a panel discussion at Art Basel called, "Contemporary Art and Social Media" part of the "Art Salon" program, Thursday Dec. 3rd at 6pm, in the Miami Beach Convention Center, Art Basel Miami 09', hope those of you in Miami for the week can make it by..best [dNASAb]

"LCDblossom_Phospherescent Polyp" 2009_by [dNASAb]

"LCDblossom_Phospherescent Polyp" 2009_9" LCD screen,hand-blown glass,fiber optics, plastics, resin, enamel, acrylic,phospherescent silicon,12v led's, custom audio/video dvd_dimensions variable

http://www.tc43.com/2009/dNASAb_PhospherescentPolyp.htm

"System: System" curated by Christina Vassallo Brooklyn,NY _October 23rd 2009 opening reception

system:system is a three-day event that reflects on the nature of associations between parts of a whole. The title is a play on the term “complex systems,” which are characterized by their connections and tendencies toward unpredictable behavior.A failing economy has decided the recent fate of 21 Monitor Street in Greenpoint, Brooklyn. Formerly a nun’s convent, the grand three-story house now stands uninhabited due to the declining membership of St. Cecilia parish and its sister school.

Location: St. Cecilia’s Convent, 21 Monitor Street, Brooklyn, NY

Opening reception: Friday, Oct 23, 7pm – 10pm with performances by Matamoros and New Idea Society

"Emergent Ecological Technologies""2009 60 "w X 40"h photograph.lightjet print edition of 7 + 2 AP by [dNASAb] 09'

"Emergent Ecological Technologies #2""2009 60 "w X 40"h photograph.lightjet print edition of 7 + 2 AP

Inspired by the surf, the unpredictable elements of nature,and the energy of the ocean.As well, as the amount of "consumer plastics" needed by humans to enjoy the beach.I set out to create new images incorporating the waves, both light and ocean, wind, sand, explosives, and sculptures made of plastics, rubber and fiber optics.I created mini installations on the shoreline, with fiber optics driven by 9v volt batteries, that proved to be waterproof.It was extremely difficult to work in that changing environment in the middle of the night, half of the time I was knee deep in water with the waves crashing on my tripod.But some interesting and exciting new images were created, and spawned a ton of new thoughts about how to create works integrating nature.
[dNASAb]

[dNASAb] in "Tomorrow City" Robot video project Incheon, Korea

"Tomorrow City" Robot video project Incheon, Korea,Curated by Janet Oh Gallery, Seoul Korea. on view 2009-2010 pictured opposite video by [dNASAb] 2009

Microsoft is opening up a temporary art space this week in the Meatpacking District in NYC as part of Internet Week. I will be exhibiting a selection of video sculptures. The main reception will be on Tuesday, June 2nd, 7-10 pm. The gallery will be open everyday.June 1st - June 7th, 2009. 414 W.14th Street, NYC. The works are ON day and night, please check it out. [dNASAb]

"Future Genetic Anomalies" + "LCD_Blossom" video sculptures, filmed in [dNASAb]'s studio

video footage of [dNASAb] video sculptures
"Future Genetic Anomalies" + "LCD_Blossom"
in the studio 2009. 1.30 mins.

"Dark Science_video Singularity"2009 currently exhibited in "NEXT POST" 18 solo projects at Rupert Ravens Contemporary.

[dNASAb]
"Dark Science_video Singularity"2009

new Painting based video sculpture.
60"x53" acrylic on wood panel framed, plastics,fiber optics,resin, L.E.D's, 1 of 1 video, 3LCD Projector

currently exhibited in "NEXT POST" 18 solo projects at Rupert Ravens Contemporary.

"NEXT POST" Solo Projects Exhibition at Rupert Ravens Contemporary,February 28 - April 11, 2009

"NEXT POST" at Rupert Ravens Contemporary
Dates: February 28 - April 11, 2009
Opening reception February 28th, 6-till
Solo Projects Exhibition
"NEXT POST"... is a foray into the next paradigm of art. Blog posts dispense with rules and manners. Jettisoning traditional brushes and technique, each artist uses space, new materials, color, and light as vocabulary of a hybrid visual vernacular. These projects are all BIG, utilizing maximum amplitude to put the potential of art to the test. NEXT POST material and light divulge facets of emotion, the oblique language of the psyche. Here postmodern ruses, wit, and theory are present not as the entirety of a gimmicky one-liner, but as icing on the cake.

AK Airways Bradley Wester Cordy Ryman David Ellis dNASAb Donald Bruschi

Doreen McCarthy Elio Franceschelli Eric Michel Fred Gutzeit Gae Savannah miya ando

Regine Schumann Saya Woolfaulk Stephan Hendee Thomas Eller Tim White-Sobieski Zethray Peniston

[dNASAb] exhibits work in a show titled "CURRENTS IN CONTEMPORARY PHOTOGRAPHY" at Flanders Art Gallery opening reception Jan. 30th

"CURRENTS IN CONTEMPORARY PHOTOGRAPHY"
Opening Reception with pierogies & martinis Friday, Jan. 30th, 6 - 9pm

Over the past decades, photography has evolved into one of the predominant forms of contemporary art. Whether this growth is the result of a relatively youthful medium finally gaining the respect and legitimization of collectors or because the technological developments of the past century accelerated its potential, photography is not only a difficult field to summarize, but it offers almost limitless possibilities in both aesthetic and narrative exploration. more>>>>>>

Frederieke Taylor gallery will present a Solo Show of New Media Sculptures by (dNASAb) at the Bridge Miami Beach Art Fair: The Catalina Hotel

dNASAb "GeneticsLiteShow#3"2008 60"w X 40.2"h photograph.lightjet print edition of 7

Frederieke Taylor gallery will present a Solo Show of New Media Sculptures by [dNASAb] at the Bridge Miami Beach Art Fair: The Catalina Hotel 1732 Collins Avenue ROOM 103

Bridge Art Fair Hours:

Thursday, Dec 4, 11am - 6pm, VIP First Look Preview.
Opening Night Party: Thursday, Dec. 4, 6pm - 10pm

Friday, Dec 5: Noon - 8pm
Saturday, Dec 6 : Noon - 8pm
Sunday, Dec 7: Noon - 6pm

"Sculpture in the 21st Century" Sculpture Magazine review of [dNASAb] 2008

"Walking into [dNASAb]’s space felt like entering a control room out of control. Wall mounted sculptures resembling imploded iPods were arranged at an accessible height. Each abstract composition of colorful Styrofoam insulation, extruded plastic shreds, and resin pulsed with fiber optic life. A small, face like screen blinked out at the viewer from each piece, competing for attention with changing audio and video compositions. In addition to these “iPod ecosystems” the artist self styled as “disneyNASAborg” also programs LCD screens to create “video bursts” or “data bursts” Here, data not only come to life, but also burst out of the proscribed boundaries of a computer screen. By deconstructing the medium of transmission, [dNASAb] has outpaced video installation to create a new sculptural form. The most recent piece in the show, ”iPod Ecosystem, FIOS-JESUS”(2008), incorporates a crucifix and a sound recording of Christmas Mass in a Spanish Cathedral. Was this merely to introduce another form of spectacle? Or to underscore the fact that these pieces are standing at the intersection of the known and unknown? By incorporating religious mytho-history into his fantasy world of electronic technology, the artist signals that she/he is willing to enter that dialogue.

---Susan Knowles Sculpture Magazine “Sculpture in the 21st Century” November 2008, vol.27 no.9

"In/Formation at BRIC Rotunda Gallery,Opening Reception: Wed, November 5, 7 – 9 pm"

In/Formation at BRIC Rotunda Gallery

Image: [dNASAb], iPod Ecosystem #12, 2007

The artists in In/Formation employ widely varying media and representational approaches to examine the radically changing nature of information systems and vehicles in the digital era. Leslie Alfin, Louisa Bufardeci, [dNASAb], Penelope Umbrico, and Ward Shelley present works that express the effects of information overload brought about by such rapidly transforming websites Google and Wikipedia. In the current environment, information is ubiquitous but not necessarily stable or even accurate. Rather, it is literally in formation—relentlessly growing in quantity and endlessly mutable.
Opening Reception: Wed, November 5, 7 – 9 pm,On view through December 19, 2008
BRIC Rotunda Gallery
33 Clinton Street, Brooklyn, NY 11201
Tel 718.875.4047 fax 718.488.0609

"Dark Science" sculptural prototypes in process

"Dark Science"painting series, with its limited use of color, and mainly black/white mono-chromatic palette has influenced the use of subdued and dark color schemes for the new genetics inspired sculpture pieces.
"Dark Science_Trans-Neptunian Objects #2" 2008 49"w x 48"h acrylic paint on MDF

[dNASAb] unveils new Painting series "Dark Science_the Singularity" 2008

"Dark Science_the Singularity" 2008 49"w x 48"h acrylic paint on MDF by [dNASAb]
[dNASAb] unveils new Painting series "Dark Science_the Singularity" inspired by the most tumultuous and quickly changing times in the history of humanity and our near future obstacles."2012, planet X, molecular machines, grey goo, genetic engineering, transhuman intelligence, Nibiru flyby, the singularity....."

"Art Papers" Magazine review of "Infosphere Aesthetics" show

"Art Papers" Magazine reviews "Infosphere Aesthetics" show at the University of Tennessee at Chattanooga. Written by Denise Sanabria. July-August issue 2008 pp. 56 click link, pdf. or jpg format.

http://www.tc43.com/2008/ArtPapers08.jpg
http://www.tc43.com/2008/ArtPapers08.pdf

[dNASAb] lecture at Cress Galleries,University of Tennessee at Chattanooga.2008

[dNASAb] lecture on solo show "Infosphere Aesthetics"
at Cress Galleries,University of Tennessee at Chattanooga,
part of the John and Diane Marek Visiting Artist Series.
28 mins. 2008

[dNASAb] 3 channel video sculpture in"Astral projections" at Secret Project Robot

ASTRAL PROJECTIONS
an Audio Visual Sculpture show and Installation

Secret Project Robot

"Astral Projections" an A/V sculpture show with installation by [dNASAb]

APRIL 12th- MAY 3rdASTRAL PROJECTIONS..... An Audio Visual Sculpture Show
Opening Party Saturday April 12th 8 to 10pm
Sculpture By:
Zach Layton,
Mighty Robot A/V
Sam Zimmerman-Jean Angel
[dNASAb]
Brock Munroe + Nick Hallet
Seth Kirby
Bradley Eros
Death by AudioWizard Smoke from Lights

www.secretprojectrobot.org

[_Sculpture in the 21st century "Infosphere Aesthetics" [dNASAb], University of Tennessee solo show 08'_]

FIOS_JESUS;expanded christianity v2.0" 2008
ipod,circuitboard,speakers,l.e.d's,fiber optic systems,plastics,airbrush paints,resin,styrofoam,religious icon,edition of 1 looping audio/video track

Three solo exhibitions that explore new trends in 21^st century sculpture to reference today’s sciences and the recent technologies of physics, computational mathematics and engineering, and digital systems as they interrelate with society’s philosophical discourse and the visual arts.

“Transcendence” the auto-catalytic sculpture of Mark Andreas
“Infosphere Aesthetics” the new media sculpture of [dNASAb]
"Field” the sculptural systems of Ryan Wolfe

Cress Gallery of Art
University of Tennessee at Chattanooga
http://www.utc.edu/cressgallery

Feb. 6 – Mar 17, 2008
A John and Diane Marek Visiting Artist Lecture Series
Lecture and opening reception Feb. 5, 2008 5:30pm in room 356, Fine Arts Center.
Gallery hours M-F 9:30am – 7pm
For more information contact the curator at ruth-grover@utc.edu
Or call 423-304-9789

"FIOS_JESUS;expaned christianity v2.0” is the first piece created in 2008,and was inspired by my many trips to Spain, especially my interface with Christmas Mass 2008.Sitting in a cathedral that took over 300 years to construct is awe-inspiring and truly indicative of the Greatness men can achieve when working together/collaborating on epic levels and monumental scale. The sculpture is emblematic of MY views on Christianity. I believe in alternate realities ,infinity ,alien life-forms , evolution AND the ideas of Christianity. I am concerned that religion is fearful of the truths of science and technology. Through this first work of its kind I created. I am trying to propose the possibility that they can all be interrelated, and in harmony, and not working to disprove each other. The alter pieces and stained glass windows create a truly creative, immersive environment for men to explore the unseen spiritual world through AWE. The audio is already amplified, the cathedral electrified. Wouldn’t it seem fitting if creating a new cathedral to integrate plasma screens, lasers, projections, and video/audio compositions to create a place for AWE, in the same way as the ancient cathedrals but utilizing new technologies?
I was very concerned when making this piece. Firstly, I have purposefully not worked with the figure in art for well over a decade, and never worked with religion as a conceptual theme in my work at all. And the majority of the Master artists that I respect that worked with religion as a theme in art, did so at a much later stage in their lives. But feeling compelled to flesh out some of the ideas swirling in my head, I decided to create the piece and exhibit it at the University of Tennessee solo show titled “Infosphere Aesthetics” . To my surprise this piece brought about a lot of great feedback, dialog, interesting questions and excitement to the show and further hammered home, in my mind, the importance of asking difficult questions through the creation and exhibition of art made_that not always is created for a reason the artist even himself understands. [dNASAb] 2008