Ian Bunn | Political & Popular Culture Arts

Francis Wade the Thailand based freelance journalist and analyst covering Myanmar and Southeast Asia has published an article on Aljazeera titled ‘A bloody year for Southeast Asia’s environmentalists’ referring to a murky “military-government nexus backed by powerful business forces is behind” silencing environmental movements. Wade states “The year hasn’t been kind to Southeast Asia’s environmental defenders. Anti-copper mine protesters in Myanmar have been firebombed and Laotian journalists critical of major hydropower projects were silenced; in Cambodia, two activists, including famed anti-logging campaigner Chut Wutty, have been killed; in the Philippines, the number of land activists alone who were assassinated stands at six. The levels of oppression are consistent with a global increase in the number of assassinations of activists, journalists and community workers who expose the ills of economic development – in 2009, according to research by Global Witness, 56 killings took place across the world; last year, 106 were slain. Behind the campaigns to snuff out environmental movements in Southeast Asian countries lurk a murky military-government nexus backed by powerful business forces. The deaths this year in Cambodia and Philippines were “carried out by men in uniforms”, said Global Witness in June, who were “acting on behalf of private sector interests and/or governments”. The stories are not new, but the intensity of attacks may well be: the month of May in the Philippines was the deadliest on record for environmental defenders, and it continued throughout the year. … where increased competition for resources combines with unwillingness by Southeast Asian governments to protect their populations from the ill effects of investment, indeed complicity in clearing the land of any resistance – the alarm bells are ringing louder.”

Inspired by Aljazeera ow.ly/gwSgb image source The Guardian ow.ly/gwCiw

Targeted by a government sniper (May 14th)

My work is 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 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 works are presented as individual pieces printed with Archival-Inks on 308g Cottonrag-paper, along with A3 sized bound monthly editions, and monthly looped video compilations.
www.ianbunn.com