Ian Bunn | Political & Popular Culture Arts

April 2013 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

March 2013 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

February 2013 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

January 2013 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

December 2012 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

November 2012 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

October 2012 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

September 2012 ISSUE now from Amazon.

Spinning Pop is an artistic and conceptual exploration of specific people and events of our contemporary time and culture.
The digital photo manipulated work is premised on the belief that Pop Art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. Visual information now circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.
The use of video production for exhibiting the work enables the individual images to become fragmented elements of the global popular culture over a time line.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.
Diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

This work is about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, the work is posted online and disseminated via online media and social networks. The works are diaristic in nature, that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice.
Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.
The work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Pop Culture through an artistic and conceptual exploration of specific people and events of the day.
The work is an ongoing artistic endeavor that diarizes visually a daily event of each month.  The work compiles a daily diary of manipulated digital images for the month, with each day’s created image rolling into the following. Guitar solo riff created by Craig ‘Macca’ McDonald.

Power indefinitely and sees no reason to change (December 27th)

Alexander Grigoryevich Lukashenko the 56 year old former farmer who became the autocratic ruler of Belarus won his ‘re-election’ for a fourth term as the President of the ex-soviet country Belarus, and is often referred to as Europe’s last dictator. Belarus is viewed as a state whose conduct is out of line with international law, and whose regime over its 16 years in power, is considered to have grossly violated human rights.  Lukashenko intends to stay in power indefinitely and sees no reason to change his course, stating the opposition should expect to get hurt when they attack. Lukashenko and other officials are currently the subjects of sanctions imposed by the European Union for human rights violations.

Inspired by Miriam Elder and Luke Harding at Guardian http://ow.ly/3uDlJ

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

Virtually silent piece of equipment to text proceedings (December 26th)

Igor Judge the 69 year old Baron Judge who is the Lord Chief Justice and President of the Courts of England and Wales rules in favor of allowing social media conversations in courtrooms decide on a case by case basis as long as it doesn’t interfere with the administration of justice. The use of unobtrusive, handheld, virtually silent piece of modern equipment to text proceedings to the outside world as they unfold in court is unlikely he observed to interfere with the administration of justice. Issuing an interim guidance pending a public consultation involving the judiciary prosecutors, while indicating it may be confined only to court appointed reporters and confirming image and audio recorders remain barred from court rooms.

Inspired by Matt Brian at thenextweb.com http://ow.ly/3uYq7

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

Fundamentally different than if drops on your lap (December 25th)

Joseph Robinette “Joe” Biden Jr. the 68 year old Vice President of the United States described WikiLeaks founder Julian Assange as being more terrorist than whistleblower, despite struggling to find any US law that has been broken, and in the face of an investigation by the Australian Police that their citizen Assange had not broken any Australian laws. The respected human rights lawyer Kellie Tranter suggests Biden’s comments are utterly unacceptable not the behavior expected of an ally towards one of our own, a reference to the extremely close relationship harbored by Australian politicians to the United States. Biden served as chairman of the Senate Judiciary Committee dealing with issues including civil liberties; and also a former chairman of the Foreign Relations Committee.

Inspired by Paula Kruger @abcnews http://ow.ly/3uChT

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

We don't discuss our techniques and tactics (December 24th)

Bradley Manning the 23 year old United States Army soldier who was charged with the unauthorized disclosure of classified information is held in solitary confinement at the Marine Corps Brig, having only one hour outside his cell a day, no access to news and is on a suicide watch. Manning had access to down load material from SIPRNet including the video of the “Collateral Murder” a July 2007 helicopter airstrike in Baghdad, and the 260,000 US government diplomatic cables that had been passed onto WikiLeaks. The United Nations’ office of the special rapporteur on torture based in Geneva, is investigating visitors reports that his mental and physical health was deteriorating as fears grow the US will apply a range of methods, including coercive pressure to extract a confession from Manning that Assange set him up as his agent of supply.

Inspired by Kellie Tranter and Bruce Haigh at @abcnews http://ow.ly/3uBJx

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

People would not get back their right to vote (December 23rd)

Salahuddin Quader Chowdhury a 58 year old senior politician of the Bangladesh opposition has been ordered by a senior judicial magistrate to be shown arrested in a sedition case brought by the police chief Mohammad Mofizuddin for making derogatory comments 12 months earlier about the murder of the acclaimed father of Bangladesh independence (Bangabandhu) Sheikh Mujibur Rahman.  The Bangaldesh government has also asked for his arrest on war crimes charges, stemming from murders committed during the 1971 fight for independence and more recently during an opposition-sponsored general strike, to which Chowdhury has denied any involvement. The recently established war crimes tribunal now claims evidence of genocide, rape, arson and looting during the war of independence committed by Chowdhury 40 years earlier.

Inspired by bdnews24.com http://ow.ly/3uB2V

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com

The case against him is politically motivated (December 22nd)

Mikhail Borisovich Khodorkovsky the 47 year old Russian businessman, who formerly was the  wealthiest man in Russia and 16th wealthiest man in the world before his wealth evaporate with the collapse of his holding in the Russian petroleum company Yukos, is due for release from prison after serving an eight-year jail term for fraud and tax evasion, which many claim was politically motivated as he had challenged Vladimir Putin by financing the opposition. Khodorkovsky now faces another jail sentence from a second trial believed intended to keep the former tycoon behind bars for as long as possible, stemming from accusations he stole two billion barrels of oil.

Inspired by BBC World News http://ow.ly/3tXC4

Political Arts | Ian Bunn Visual Artist

My digital art work is essentially politics and art. It’s about iconic people, places and events of our day.  Recorded visually through daily compilations of manipulated digital images, posted online and disseminated via online media and social networks. The works are diaristic in nature that metaphorically record a spectator’s experience of the contemporary digital age.  The resulting work intentionally has a painterly aesthetic acknowledging my historical painting practice.

Adapting Pop Art’s notion of mass media imagery into a context of the contemporary digital age, the work draws on a myriad points of reference. Utilizing fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness.  The work is essentially popular culture arts, diverging from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead this work focuses on the deluge of contemporary digital content. The compilation of the fragmented imagery is vividly distractive, not unlike cable surfing or a jaunt through Times Square.

This digital photo manipulation art work is premised on the basis that Pop art in its beginnings, freeze-framed what consumers of popular culture experienced into iconic visual abstractions. With the advent of the techno age, visual information circulates in such quantities, so rapidly and exponentially, that to comprehend a fraction of it all becomes a kind of production process in itself.  Hence this work considers fragmented elements of Popular Culture through an artistic and conceptual exploration of specific people and events of the day.

www.ianbunn.com