Alas Poor William, Digital art
March 15, 2012 - June 15, 2012
Don Bergland, Mahfuzul Hasan Bhuiyan, Marlon Paul Bruin, John Clowder, Laurie Curtin, Karl Eschenbach, Zoran Ljubojevic, Maya Just Maya, Lona Moody, Aiba Takanori, Sander Terbruggen, Shea Wilkinson
We have structured a linear timeline to differentiate yesterday from today from tomorrow. We anticipate the following day, predict its outcome, and dream of places to explore, people we have yet to meet, and creations we have yet to make. It is in being able to dream and mold tomorrow that made computers, Kindles, and cell phones morph from being figments of imagination in science fiction novels to everyday necessities.
The majority of early, prolific science fiction novels of the 20th century did not go beyond 2001, and 2012 has been dubbed the ‘ End of Days’ by the predictions of Nostradamus and Mayan calendars.
fiction through the lens of speculative fiction, observing technology and environments that evolved from dreams into reality.
Gouache, Collage, Mixed Media
The three prize winners of this exhibition, through various mediums—digital art, collage, and sculpture—conjure anticipation, instigate ethical dilemmas, and provoke discussion of our unknown future. 2012 and Beyond is proud to celebrate the work of Best in Show winner: Karl Eschenbach; 2nd place winner: John Clowder; and 3rd Place winner: Aiba Takanori.
Alas, Poor William
Digital Art on velvet fine art paper
Alas, Poor William is haunting. Eschenbach’s digital work startles his viewer and instigates existentialist dilemmas of artificial intelligence and how their creation and distribution would complicate, threaten, and obscure the meaning of humanity. Eschenbach’s title is poignant, referencing Shakespeare’s Hamlet and the mortality of human existence. His subject, a fleshless, metal cyborg, stands in an industrial environment gazing at a human skull, unable to fathom our corporeal existence.
Science fiction novels and films flood the viewer’s mind such as Phillip K. Dick’s novel, Do Andriods Dream of Electric Sheep with the Tyrell Corporation’s slogan “ more human, than human,” provokes intense personal reflection and fear.
Collage, Mixed media
John Clowder’s work is witty, absurd, and intriguing. Gene Play conjures anticipation of the misuse and use of genetic modification. Clowder’s piece addresses the science of genetics and juxtaposes the rigid system of inheritance with a playful depiction of geometric shapes, concrete blocks, and animals. With the advent of genetic engineering, splicing, and cloning, Gene Play critiques the supposedly systematic order of genes which is no longer true, as science has allowed us to reshape genes on a whim.
Hawaiian Pineapple Resort
Steel with mixed media
Takanori is a master craftsman who utilizes the medium of the bonsai tree and asks his viewer to contemplate the role of popular culture in our everyday life. His work is original, precise, and captivating. Warholian in his use of Hawaiian pineapple brand, Takanori fuses the cultural traditions and aesthetics of bonsai with pop art, asking his viewer to consider a future where we live and vacation in consumer products.
Taking into the account of the methodical and precise art of bonsai trimming, his work deftly presents a future where consumerism has consumed contemplation and product has consumed individual expression. The future is defined not by our accomplishments but rather the products that in it.
Flavia S. Zúñiga-West
Los Angeles , 2012
~ Charly Swing
Founder, Infinity Art Gallery
~ Julie Weismann
Director, Infinity Art Gallery
Ministry of Destiny, Digital Giclee