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Juror Statement |
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Digital 2001 reflects views about science and technology from the astronomical universe to the internal spaces revealed by the use of the electron microscope. The images also focus on the current effects of human intervention on the natural world.
A primary curatorial goal was to present work where the "digital" is subservient to the artwork. It was pleasing to see so many images, such as Sandersonâs Red Hots, where the origins of the artwork do not demand to be considered "digital."
I was fully prepared for a bleak outlook to be presented. Views are generally optimistic÷however, there are some references to the adverse effects of human intervention on the natural world with Lorenzâs defenseless, naked mice and the genetic aberrations that they may become.
Even in those images with a cautionary reference, there is an ambivalence to the observation. Chambersâ Viral Wave and West Nile Virus Superimposed contain hints of the ominous, but for the observer, the image initially appears to be an abstract combination of shape and color. Trigg has produced images that look like stylized cellular forms but are derived schematics for the large developments that are creeping over the landscape.
For some, there is a chance to poke fun at the natural world with Arkyâs Evolution and Crawfordâs Maker and Spare. Byrne uses human trash to create lively new organisms emphasizing the throwaway nature of our culture and the indestructible, polluting materials we leave behind. Percy uses brightly-colored childrenâs toy materials to reduce complex chemical structures that require intense scientific analysis, and brash color and deceptively simple repetitious patterns. Kutz simplifies structure in a similar way with the refraction patterns produced by analysis of physical structure.
For the most part, the works celebrate nature and the amazing patterns and forms found within it. This is clearly seen in Kingâs Antarctic Heart, where the forms may, or may not be, actual protozoans that drive the food web. Anderson's Suspension #4 and Wandsâ The Earth is Art images are an appreciation of the natural world and the basic amazement the artist finds in its multi-faceted complexity.
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Michal Smith, co-owner/director
The Silicon Gallery and Silicon Gallery Fine Art Prints, Ltd.
Philadelphia and New York City's new art district DUMBO
Michal Smith graduated as a applied biologist from London University, specializing in fish genetics. The original goal was to fish farm in Scotland but instead chose a more practical career in retail management. Recruited by United Computers, with the only commercially available Cray computer, she worked with computer specialists promoted into managerial fields for the first time. During this period she freelanced writing comprehensible manuals for the first typesetting software available on the then state-of-the-art Victor 9000.
Smith worked in the U.K., and with a partner, founded a company in the U.S.A. for training, developing and supporting software and hardware for graphic designers and typesetters. This eventually became solely a graphic design and multi-media company which moved to the Old City in Philadelphia. This is the center of the Art Gallery District. This location, combined with the notable lack of galleries displaying digital prints, prompted Smith and her partner to open an art gallery to show some of the exciting artwork that their graphic designers were producing.
Silicon Gallery, the first digital art gallery in the United States, was launched in 1994 and the printmaking studio Silicon Gallery Fine Art Prints, opened in 1996. Working exclusively with artists, Silicon Gallery has two studios -- the original in Philadelphia and a second in the DUMBO area of Brooklyn. Their website is: www.fineartprint.com
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