No Pomo
Works in Boston United States of America

BIO
In the focus of my praxis I start with the audience, the viewers reception is the most important factor in determining the larger cultural meaning of your work. It's important to me that I reach an audience with an intent that will be inferred by the viewer. Post-war art was the birth of modern abstraction, which was a fear of depiction and a fear of telling the viewer what to think or do. It was a nihilism birthed out of the sombre aftermath of fascism and it's use of language and the image. Slowly the art-world reconciled and slowly began to recuperate the use of narrative and realistic images but it was never the same. Fractured and dialectic works continue to be the most useful in making work that both states something without enforcing a violent intention to the viewer. This importance of the nihilistic conversation is the birth point of my aesthetics. George Bataille's theory of "Icarian" telos, a realization that the more you learn and the more you can do, the more you burn yourself with this knowledge and render yourself useless unto the public who can not seize this information, plays an important role in how I navigate the world of cultural production.

More and more I try to compress ballistic information into digestible radical pills. Compressing information creates a loss of nuance though I work towards developing my own codecs that allow for free roaming radicality. I reach for a Nick Landian acceleration collaborates with the exponentiation of communication to an anti-bodily stasis forcing a utopian conclusion, remapping the hyper-information dromosphere that dominates cultural influence. (Cyber-punk myth-political jabber) The utopian vision is always a tongue-in-cheek metaphor for religious subversion that functions to communicate information to the mostly christian minded western hemisphere. (All disaster films, dystopias, etc. are serviettes to the notion of rapture.) It is important to not be complicit to this absolving system to the viewer, but to take what's familiar and present a non-rapturous projection of our world. The average dark narrative or image is not dark at all, if any thing it is designed to make the viewer exempt from the issues of our world. I'd rather make a step to making the media consumer feeling complicit to a destructive system and potential get closer to a stasis of actualization.
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DISCUSSION

DISCUSSION

The Week Ahead: Situationist Tubing Edition


This seems to be reaching conceptually, and grabs little.
I love tubing, and I love Situationism, but this seems rather exploitative of both.

DISCUSSION

What am I doing wrong


It's digital art, if you want to be more popular presentation helps out a million.
I'm saying this because I couldn't do anything more than view thumbnails of the pieces which I don't want to judge some one's work from.
I mean for videos you can use sites like VIMEO and youtube, and there are tons of hosting sites for images (tumblr, etc.) I mean even a blogspot would be better than just a rhizome profile.

DISCUSSION

What am I doing wrong


5-7.50 a month isn't that expensive (and that's for a pretty large plan)


DISCUSSION

Artist commits suicide online as a work of art (well, sort of)


So many fake suicide videos, or archived suicide videos are played on chat roulette on a regular basis that it's hard to expect any real reaction from it's viewers.