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.

Daniel Connell the Australian visual artist who draws heavily on India for inspiration has had a large charcoal mural defaced at the Kochi-Muziris Biennale – India’s first biennale based out of Kerala. The mural was attacked by unknown vandals rubbing it with a burnt coconut husk and water. Nicholas Forrest in a Boulin Artinfo article states “Titled LOOKHERE, Connell’s project consists of two 6.5 by 6.5-foot portraits as well as a series of paste-ups with images of local residents. The damaged work is a portrait of a man named Achu, who is a local tea vendor.   “It seems that it was premeditated to a certain extent in that a tool was sourced rather than just using the hand,” Connell says. “The charcoal was simply smudged and wiped. If they had been really angry they could easily have removed the whitewash with little effort.” The reasons for the defacement are unclear, although Connell has run through multiple possibilities. His first suspicion was that it was a faith-based act – Achu, the vendor, is Muslim, and the biennale is also being held near the site of India’s first mosque – but locals were quick to dismiss this. Instead, Connell now suspects that it might be the work of local artistic intelligentia, angered at having been excluded from the event. Also possible culprits are extreme leftist groups active in the area, who, opposed to Western influence, have launched poster campaigns accusing the Biennale of corruption and elitism. The defacement might also be an act of jealousy from local business rivals of Achu’s tea shop, envious of his success.”

Inspired by Nicholas Forrest ow.ly/gwAIm image source Blogspot ow.ly/gwAE8

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.

Process is very difficult and he was a trooper (May 27th 2012)

Emma Hack the Australian visual artist who combines canvas and body painting with studio based photography, renowned for her recent work with Australian musician Gotye on the video “Somebody I Used to Know” which also features New Zealand singer Kimbra, has been interviewed by Nicholas Forrest for Artinfo. In the interview Hack states “Natasha Pincus, the director/producer, wanted to create a blend of the bodies into a background to make them appear as if they are in a relationship whilst blended. Then Kimbra leaves the relationship as the paint disappears from her back. …The process is very difficult and he was a trooper — never complained even though in pain. In all, it took 23 hours to create the work on them both. He loves and understands the process, which makes it easy to work with him.  …It differs greatly from the art I create, which is what I want to do, creating in a calm environment with my regular models. The Gotye project is similar to a commercial gig, where I’m working for the good of the client and their needs — but it is a lot more demanding emotionally on me.

Inspired by Artinfo ow.ly/aYig3 image source adelaidenow ow.ly/aYi6u

I can’t draw caricatures of anybody (February 9th)

David Shrigley the 43 year old UK visual artist has provided an interview to MetroUK about his injection of humour into his work. Shrigley works with various media and is renowned for his humourous cartoons released as postcards and in softcover books. Shrigley’s work is said to have two major characteristics, an odd viewpoint and a limited technique. His use of free hand lines are crude and incorporated with the use of ruler, and the annotations to his drawings are frequently crossed out and suggestive of poor execution. In the interview Shrigley states “My work is really quite bleak a lot of the time and quite nasty as well, so maybe adding comedy into the mix makes it slightly less so… I’m not really interested in making people laugh that much; I just want to engage people and tell them something different.” Shrigley has produced a number of drawings published by the New Statesman. “I did it as an exercise to be a political cartoonist… I’m not really equipped to do that, in the sense that I can’t draw – I’m not an illustrator. I can’t draw caricatures of anybody…”

Inspired by Metro UK http://ow.ly/8SyRh image source List http://ow.ly/8SyYv

No longer do you rely on the moment (November 4th)

Tacita Dean the 46 year old UK Berlin based YBA visual artist who works primarily with film has unveiled her latest work in the darkened Turbine Hall of the Tate Modern as the 12^th commission of the Unilever series. The work is a looped film installation, entitled Film, and is a homage to the declining analogue film industry under threat from the burgeoning digital and animation technologies. Dean is renowned for her work in analogue film, although she still explores a variety of other alternative media including photography and sound. The catalogue for this exhibition references international directors including as Steven Spielberg and Martin Scorsese who provide favorable reflections on the power of analogue film. Dean laments the decline of the industry with the pending closure of her favorite London Soho Film Laboratory, announcing it will cease printing her chosen media the 16mm film.

Inspired by Charlotte Higgins http://ow.ly/75ZyR image source Teresa Gleadowe http://ow.ly/75Zwo

Painting will never die, just changes its nature (September 22nd)

Gerhard Richter the 79 year old German visual artist renowned for his abstract and photorealistic painted works is to be honored with an exhibition at the Tate Modern in the UK. Richter a painter of immense skill has also embraced photograph, a rarity of sorts with painters of his notoriety, undermining the concept an artist needs or has an obligation to a single medium. Richter having escaped to the west before the Berlin wall was constructed, has gained popularity throughout his career with a significant boost in 2005 from a retrospective exhibition that defined him as one of the great artists of the century, and the greatest living painter of the time. Richter has been the recipient of many and often distinguished arts awards, which has particular emphasis given the post modernist cry that painting was dead.

Inspired by Jonathon Jones http://ow.ly/6tYqf image source Hps-poll http://ow.ly/6tYpi

'The Clock' made equally accessible to all (September 1st)

Christian Ernest Marclay the 56 year old Swiss-American visual artist and composer, whose work explores correlations between sound and film, has issued a rebuke to the Boston Museum of Fine Arts following the announcement of a fundraising scheme to charge VIP visitors US$200 per person to attend a showing of his piece ‘The Clock’. A 24-hour compilation of time-related scenes of clocks from movies, ‘The Clock’ earned Marclay recognition as the best artist winning the Golden Lion at the 2011 Venice Biennale. In a statement to Artinfodotcom Marlay stated “It has always been my express wish that there should be no additional charge to view my work ‘The Clock,’ over and above any general admission price … It is my intention that my work be made equally accessible to all”.

Inspired by Julia Halperin http://ht.ly/67MmX image source Ian Pierce http://ow.ly/69cLA