Exhibits Perception II
‘Perception & Reality II’ | April 28 – July 1, 2017
Snap! Downtown presents ‘Perception and Reality II’, featuring interactive, immersive art installations, digital and 3D art, geometric and x-ray art exhibitions in the three galleries, at Snap! Downtown. Artists include Nick Veasey, Ginger Leigh, Nathan Selikoff, Shelley Lake, John Hiigli, Dan L. Hess, and Ryan Buyssens. Exhibition curated by Patrick and Holly Kahn.
Nick Veasey is a British photographer whose work with radiographic imaging equipment takes the x-ray to another level. Everyday objects are transformed from the banal to the beguiling and the layers and make-up of natural items are shown in fantastic detail. In today’s world that is obsessed with ‘image’, superficiality and artifice, Veasey counters such insubstantial diversions by delving inside and discovering what things are really made of. Metaphors for the images are many and varied. Their context is very relevant in today’s society with the prevalence of surveillance and the use of x-ray technology for security.
John Arden Hiigli (born 1943) is an American artist, inventor and educator. The art of John Hiigli lies in a domain where science and art intersect. The use of colors represents translational symmetry in the world of light frequencies, while the mixing of transparent colors over each other is compared to the composition of sound frequencies in musical artworks.
Shelley Lake is a photographer and digital artist. Her experimentation with art and technology began more than 35 years ago, as a computer science major at Brown University. At MIT she trained with Nicholas Negroponte and Harold Edgerton, pioneers in the fusion of science, art and technology. Featured in numerous international exhibitions and film festivals, she won a Clio award and Japan’s Nicograph award for ‘Still Picture Computer Graphics Grand Prize.‘ Her work is collected worldwide, and she has been commissioned by the American Embassy in Nigeria, Apple Computer, Peter and Eileen Norton, Santa Monica, CA, and the Amway Center in Orlando.
Dan L. Hess
Dan L. Hess was born on Long Island, NY in 1962. He received a BFA from the School of Visual Arts in NYC and an MFA from Stony Brook University in New York. He currently lives and works in the Orlando, Florida. “I approach the large works as one would a specific site or place, even a sacred place or altar, that is being simultaneously excavated and reconstructed. Things are consumed during this process: material, time, touch and false preconceptions as existing theatrical structures are worked through. My desire for the whole of my work is that it ultimately exists, both physically and visually, as a haptic proof of previously unseen or unknown realities.”
Ginger Leigh | SYNTHESTRUCT
Ginger Leigh (Synthestruct) is a multidisciplinary artist creating interactive and audiovisual experiences that explore the beauty of science, math, and natural systems. Leigh received her B.A. in Digital Media in 2004 from the UCF and currently teaches design at Full Sail University. Her work has been presented internationally at the Music Tech Fest in Sweden and Slovenia, and at the Electrodome Festival in Sweden.
Dance Variation 6
Nathan Selikoff is a fine artist playing at the intersection of interactivity, math, and code. Inspired by the behavior of systems, science, nature, and music, he combines computer code, traditional materials, and future technology to bring new ideas to life. Nathan Selikoff’s award-winning artwork has been exhibited and performed in galleries and venues around the world, including Art Basel in Switzerland, Hungary, Canada, Holland, Boston and Los Angeles.
Ryan Buyssens’ work in 3D printed, CNC machined and laser-cut parts; “Resistance” is a time-based, interactive, mechatronic sculpture that emulates the articulated flapping of bird’s wings. Several sets of these mechanical birds are mounted to a wall and, through various intensities of flapping, respond to the viewer’s movements within the space. The objects simultaneously invite and intimidate with their graceful, fluid motion contrasted by the direct reactivity of their activation. This experience between the viewer and the piece translates a sense of separation – the birdlike machines act in opposition to the viewer’s perceived freedom within the space.
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