DATAMOSH, technically referred to as a compression artifact and commonly known as Glitch Art is a sub-genre of digital art that utilizes and presents aberrant and distorted digitized images. I have been gathering, editing and re-emphasizing this abstract form from screens and printed matter for years. Below are a few examples. I will be showing a collection on aluminum panels sometime in 2015. Please check back with more details.
MID CITY A gallery located in the MID CITY district of LA
For immediate release
October 18, 2014
October 18 – November 25, 2014
Opening Reception: Saturday, October 18th 3 -6pm
MID CITY is pleased to announce a solo show by Black Mountain, North Carolina artist Jason Fort. TACTICAL DISTORTION is Jason’s first Los Angeles exhibition. Join us for the opening reception at MID CITY on October 18, 3-6pm. The show will run October 18 through November 25, 2014. MID CITY is located 2 blocks east of the 10 freeway at 5574 West Washington Blvd. Los Angeles, CA 90016.
MID CITY will be showcasing Jason Fort’s multi-layered and highly composed vector prints which he displays in a variety of surfaces and presentational devises. Jason Fort is an artist, architect and inventor known for designing and building stunning and unique affordable, environmentally friendly homes. He has designed solar powered catamarans, hydrogen blimps, autonomous vehicles and wind turbines. This process of integrating traditional materials with new technologies informs Jason’s art both aesthetically and in terms of production.
Fort’s journey into producing Tactical Distortion prints begins with the simplest of means, a sketchbook. Jason builds on these sketches with the aid of a computer, incorporating his construction experience with the freedom to rely on his intuition. Using a process that transforms the vector (mathematical) language into a pixilation format Jason distorts his drawings revealing the underlying nature and beauty of his selected three-dimensional objects into a realm of density, detail and cosmic resolution. The macroscopic artworks become an imbedded personal narrative with a beginning (the inspiring object), middle (the compositional tool & layering) and end (the presentation). Colorful and highly evolved, the collection of metal and Inkjet prints express the tangent between idea and concrete form.
Jason is currently finishing “Cube Cabin” in the Black Mountains of North Carolina. Post “Pre-fab” in materials and design, this current structure is highly conscious of its relationship to the environment. Jason humorously calls the style “Borg Bauhaus,” in reference to the Star Trek adversary and the German Modernist architecture; an assimilation of new materials, efficient systems and elegant functionality. With the same meticulous attention to detail and passion that Jason pours into building his unique homes, the works in TACTICAL DISTORTION are bold interpretations of the unique elements that have placed Jason at the forefront of the world of design. The result is a rich imaginary universe from a planet where there is much to build upon.
For additional information please contact Jonmarc Edwards at email@example.com or 323.939.3090 MID CITY is located 2 blocks east of the 10 freeway on W.Washington Blvd. in Los Angeles. Limited parking is available behind the gallery or abundantly on the street.
5574 West Washington Blvd. Los Angeles, CA 90016
A friend of mine who is a big Duchamp-ophile recommended that I read this book knowing that I myself have plenty of interest and opinions regarding the mastery of Marcel. This book was eye-opening (not retinally speaking) and a pleasure to read…
A Marriage In Check is a fascinating account by Marcel Duchamp’s first wife Lydie Fisher Sarazine-Levassor of their nine-month courtship and marriage. (L.F.S-L.)
From the first page we are privy to the awkward dynamic and suspicious circumstances of Lydie and Marcel’s initial encounter and subsequent engagement. She explains that her father, Henri Sarazine-Levassor, wanted a divorce from his wife of 25 years and that Mrs. Marthe Sarazine-Levassor would only acquiesce once their only child Lydie was married off. This unusual request may have come less out of concern for her daughter and more as a means of preventing the divorce. Lydie was a twenty-five year old recluse, overweight and by her own account not very attractive. For a while Marthe Sarazine-Levassor’s plan seemed to work as her daughter was unable to attract a suitable suitor. That was until Henri Sarazine-Levassor’s friends, the artist Francis Picabia and his then mistress Germaine Everling, decided to help. From this account Picabia and Germaine were instrumental in introducing Lydie to the charming, available and broke Marcel Duchamp. Marcel’s money was tied up with a large Brancusi purchase and he had become preoccupied with chess. Duchamp had publicly renounced art and proclaimed to Lydie that he did not work for a living but would live off his chess winnings or other laissez–faire endeavors. Lydie and Marcel received the slightest of dowries, one that proved too small for the both of them to live off. This strained their marriage from the outset and what money they did have was spread especially thin because Marcel needed his own space to work. They began to live separately and ultimately, Marcel asked for his freedom, telling Lydie that a divorce will not change anything and may help their relationship. Lydie wondered what happened; why did he marry her in the first place? Lydie began to suspect a conspiracy between her husband, her father and their mutual friends and was guilt-ridden that her marriage forced her mother to succumb to the father’s will. Although Lydie was never fully embraced by Duchamp’s artistic milieu she did hope to win Duchamp’s love and trust, thinking that over time she would be accepted by Francis Picabia, Man Ray, Katherine Dreier and the rest of Duchamp’s posse. But this arrangement seems to have been a Fait accompli and those close to Duchamp (except for Duchamp’s youngest sister, Yvonne) kept Lydie at arm’s length when not interrogating her tastes and morals. This is a compelling read that gives the reader insight into familiar personalities and avant-garde artists from an alternative and unique perspective. It is also a wonderful window into the chaos of post-World War I France and the changing class-consciousness that would become prime subject matter for the avant-garde during the twenties. Lydie Fischer Sarazine-Levassor’s observations and remembrances were written not as a salacious tell-all or as art history but rather for a Duchamp retrospective occurring at the Pompidou in Paris, 1977. I recommend this book to anyone who would like a better comprehension into the life and character of Marcel Duchamp the man, not the artist.
Thollem McDonas & Angela C Villa dropped by my studio Wednesday during a rare break from their busy touring schedule. Thollem is an amazing keyboard virtuoso who (if you checked out his website you know) recently performed in Matthew Barney’s film / opera, “River Of Fundament.” We started to rehearse on a “top secret” musical / visual event to be preformed here in LA in late February 2015. I will release a short video clip soon of our end of rehearsal theatrics shot by Angela. I guess you could call it a teaser for the up-coming event. Stay tuned!
Thollem McDonas & Peter Valsamis @ Café NELA, Sep 4, 2014
6018 WILSHIRE Group Show
Edward Cella Art + Architecture
6018 Wilshire Blvd
Los Angeles, CA 90036
SHOW DATES: September 20 – November 23, 2014
RECEPTION: Saturday, September 20, 6 – 10PM
Sunset at the Santa Monica Pier, August 22, 2014
American (Leavenworth KS. 1959)
Mixed media on Canvas
20 x 16 inches, 2012
Phoenix Heart exemplifies the smaller studies from the Counter-space Series. These works were primarily painted between 2011 through 2016 when JM fully developed his Debriti (debris + graffiti) style. Using the counter-space form (the negative space between letters) he shook theses shapes onto raw canvas by incorporating a dispersal technique to implement random, curious and surprisingly delicate compositions. He proceeded to cover the compositions in translucent paint mediums spraying numerous layers until the overall nature of the piece had been achieved.
The act of shaking the unique forms from a dispersal apparatus articulates JonMarc’s faith in the physicality of the creative process. Phoenix Heart (and other studies) reveals JM’s interest in the synthesis of distinct properties; paint, form and activity – paint’s sensual attributes, form’s raw depiction and the physical act; both intentional and spontaneous.
The Counter-Space Series represents the dialog between the conceptual space and the physical act of painting.
Mid City exhibition at Coagula opened yesterday with a bang! During the first hour of the opening a traditional Chinese dragon parade wound it’s way around Chung King Road with dancers throwing firecrackers, sparklers spiting colors and children covering their ears during the cacophonous procession. The gallery saw a steady stream of art minders and it was great to see old friends and new. Since my work does not have the conspicuous style that would lend it self to immediate sales I feel my success in an opening night lies in the questions and creative reactions to my paintings and the environment I created as a whole. In the case of MID CITY I found the experience a success with the optimism of sales very high.
The theme of the show was again the relationship between language and the creative act. This time I used letters not as content but as debris. I choose to use the counter-space or drop out of the negative space of the letters as the content or form to structure my paintings and use the letters as the discard, the consumptive detritus of our “self-expressive” culture. As I spent more time with the show and talked about it I could see that what I had created was just a sketch to something bigger and more effective on a grander scale. I intend to push some of these ideas to greater physical means and exert more intention onto the art minded public.