Artist Statement

Times up! Heralding in a New Age

Mixed Media Digital Print (2012)

594 x 420 mm

‘Times up! Heralding in a New Age’ is a mixed media digital artwork which represents the notion of digitisation in relation to the way news is accessed and read. Numerous techniques and elements were manipulated by the artist to present a statement about the demise of print news, posing questions about the future of reporting within a digital landscape.

Both human and computer processes were used to combine and juxtapose several material artefacts with their digitalised counterparts to create a cohesive, yet chaotic image, which evoked emotions towards the process of digitalisation. The final media of the artwork consisted of a 594 x 420 mm digital print on high gloss paper. Aesthetically, the foreground features a large skeletonised hand which reaches towards a pixelated left corner, situated on a black, white and red abstract background. The medium of the background consisted of acrylic paint on collaged news print, whilst the hand was photographed and digitally altered, before all layers were combined using a range of filters.

Several art movements and artists have influenced the artwork, including the Post-Impressionist movement and Van Gogh, whose work was characterised by short brushstrokes of broken, bright colour to define form, evident in the painting ‘Skull with a Burning Cigarette’ (Parr, 2012). The macabre use of dark background contrasted with a bright yellow skull, informed the selection of the equally sombre colours in my artwork, whereby the fleshy, yellow hand was contrasted against the chaotic background (Miller, 2010). Colour was a dominant element within the piece, with black and white used to symbolise the conflict of digital and material worlds, whilst also being symbolic of the dull colours of news print. Red was introduced to symbolise death and the bleeding of the newspaper. Together the three colours enact the pun ‘black, white and red all over’ with the cliché losing meaning within the future digital climate.

Shape was another major element within the art piece, with the irregular and jagged forms inspired by Abstract Expressionism, a 1940’s movement characterised by abstract forms whereby line and colour were detached to depict and transcend physical space (Roche, 2009). In particular, Jackson Pollock’s technique of flicking paint was used to create the harsh shapes, to evoke a chaotic tone and symbolise a changing world  (The Art Story Foundation, 2012). The emotive strokes incite feelings of anger and despair reminiscent of the employees whose jobs are at risk. This is juxtaposed with the even squares in the left corner which represent pixels as newspapers become digitalised, with the ordered and structured forms suggesting a lifeless future and the immediate and factual reporting of online news.

Emphasis has been used through the incorporation of an exaggerated hand, reaching towards the pixels and appearing as the focal point of the painting. Depicted in yellow, it appears to be aging, with details of newsprint and bones appearing through it and adding layers of rough textures, also synonymous with age. This again depicts death, as humanity attempts to reconnect with the digital world and depart the physical print news. Movement has been created by depicting a pointing hand, reaching towards the pixels, to lead the viewer’s eye towards the digitalised future, whilst ensuring a coherent and harmonious artwork through the connection between the two layers. This also disrupts the symmetry of the artwork, to add to the chaotic tone. Behind the hand, the word ‘Dumped’ has been emphasised, again evoking connotations of the newspapers being left behind.

Contemporary digital art provided the inspiration and the tools to create a cohesive artwork. Joseph Nechvatal uses technology to create symmetrical images which have been multilayered to create balance (Lewis, 2003). This informed the combining of layers which were asymmetrical to create a feeling of chaos in the artwork. Digital filters enabled the creation of a rough texture and a grainy feel, to symbolise decay and ageing. The final media of the painting was high-gloss paper, which highlighted the digitalised processing and again referred to the digitalisation occurring for both print news and art.

My artwork responds to the socio-cultural change of digitalisation, particularly focusing on the demise of print media. It is intended to challenge the viewer to question whether the newspaper will survive or whether it will be consumed by the digital age. Overall, it is a cohesive artwork which manipulates design elements to represent the changing and technological world we live in. 

References

Lewis, J. (2003). Joseph Nechvatal at Universal Concepts Unlimited. Art in America , 123-124.

Miller, D. W. (2010). Art work: Skullduggery. Retrieved November 30, 2012, from Madness of Art: http://madnessofart.com/tag/amsterdam/

Parr, S. (2012). Sue's Doodles. Retrieved November 30, 2012, from Research point: Artist’s depictions of skulls: http://suesdoodles.wordpress.com/2012/11/10/research-point-artists-depictions-of-skulls/

Roche, M. (2009). An Analysis: No. 1 (Lavender Mist) – Jackson Pollock. Retrieved December 2, 2012, from Metamorphisis: A Landscape: http://metamorphosisalandscape.wordpress.com/2009/08/21/an-analysis-no-1-lavender-mist-jackson-pollock/

The Art Story Foundation. (2012). JACKSON POLLOCK. Retrieved December 2, 2012, from The Art Story: http://www.theartstory.org/artist-pollock-jackson.htm