Popular Culture Arts – As Interpreted a Renowned Digital Artist
Article by Ian Bunn
The phrase “Spinning Pop” generally refers to iconic people, places and events of our day – Popular culture arts which can be recorded visually through daily compilations of manipulated digital images. The resulting images are posted online and disseminated via online media and social networks. The work is diaristic in nature, intended to metaphorically record a spectator’s experience of the contemporary digital age from a popular culture arts perspective. The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice. With 6.7 billion human faces surviving on this planet, these images portray historically a glimpse of a notary event or face for each particular day.
Adapting Pop Art’s notion of mass media imagery into the context of the contemporary digital age, it draws on a myriad points of reference. Utilising fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness. This popular culture art diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing 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 popular culture art is premised on the belief 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.
Unsurprisingly, as a collective of artists examine every facet of life, utilizing all available resource, materials and mediums to depict their interpretation of the world about them. The use of digital photo manipulation, and the creation of random imagery is just not surprising, nor outside the ‘norm’ of our brave new world. Photography has for many decades had to combat the accusation of ‘But is it Art?’, and thus as technology develops at such an astonishing pace, photographic manipulation is the medium at the proverbial ‘coal face’ or cutting edge, at which you would expect to find artists operating.
A profile of “Machines Go To Work” author and illustrator William Low. William provides an in-depth look at his artist process, from conception to publication from inside his New York City studio. www.williamlow.com http
Popular Culture Arts – As Interpreted a Renowned Digital Artist
Article by Ian Bunn
The phrase “Spinning Pop” generally refers to iconic people, places and events of our day – Popular culture arts which can be recorded visually through daily compilations of manipulated digital images. The resulting images are posted online and disseminated via online media and social networks. The work is diaristic in nature, intended to metaphorically record a spectator’s experience of the contemporary digital age from a popular culture arts perspective. The resulting work intentionally has a painterly aesthetic acknowledging the artists historical painting practice. With 6.7 billion human faces surviving on this planet, these images portray historically a glimpse of a notary event or face for each particular day.
Adapting Pop Art’s notion of mass media imagery into the context of the contemporary digital age, it draws on a myriad points of reference. Utilising fractured images to provide an allusion to the digital noise pounding away daily into our sub consciousness. This popular culture art diverges from the traditional Pop Art notion of a pronounced repetition of a consumer icon, instead focusing 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 popular culture art is premised on the belief 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.
Unsurprisingly, as a collective of artists examine every facet of life, utilizing all available resource, materials and mediums to depict their interpretation of the world about them. The use of digital photo manipulation, and the creation of random imagery is just not surprising, nor outside the ‘norm’ of our brave new world. Photography has for many decades had to combat the accusation of ‘But is it Art?’, and thus as technology develops at such an astonishing pace, photographic manipulation is the medium at the proverbial ‘coal face’ or cutting edge, at which you would expect to find artists operating.
A profile of “Machines Go To Work” author and illustrator William Low. William provides an in-depth look at his artist process, from conception to publication from inside his New York City studio. www.williamlow.com http Video Rating: 4 / 5
