Artie Vierkant

Image Object Sunday 2 December 2014 6:08PM, 2014

UV Print on Dibond

203 × 203 cm


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Accompanied by a certificate of authenticity signed by the artist.

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Artwork
Description

Artie Vierkant’s present work straddles the divide between physical and digital existence. While manifested in real life as thick, mainly wall-mounted, PVC printed sculpture its afterlife/Internet life and initial inception as a digital file are important parts of its actuality. The digital file that spawns the sculpture exists in multiple, diverse, divergent mixtures of gradients, shapes and forms. Once Vierkant choses a file, it is then fabricated as a UV print on dibond and incised to a form which is paradoxically sharp in appearance – due to the edges of the sculpture – but blurry, as the soft bright strokes of paint that create its appearance coalesce in and out of one another. Once the thick wall mounted PVC sheets are affixed in the gallery space, they are documented in the form of an installation shot. These photographs, images [of] objects, circulate on gallery websites, in publications and in various web-outlets, not as un-touched records (as most installation shots are intended to have this objectivity) but rather as images that are further altered in Photoshop using retouching techniques: blurs, smears, clone brushing and the like.

Vierkant’s Image Objects thus epitomise a flip-flop, a term coined by the silicon valley novelist Robin Sloan where work of art is created in the real world, shown in the digital world and brought back into the physical domain, perhaps even on a repeat basis. Vierkant’s sculptures are representative of a society in which the circulation of images is both an omnipresent banality and a springboard for a near infinite variety of manipulation. The Image Object is a symptom and a benchmark of expected digitisation where, after the necessities of the Internet are in place, the networked social and collaborative initiatives increase in potentiality and potency. The sculpture requires a certain technology to be produced and is self-referential in that same technology, namely photoshop, is then used to further manipulate the installation images that are distributed online as another component of the work itself. The Image Object is both an emblem and a poignant statement.

About
the artist

Artie Vierkant (b. 1986, Breinerd, MN) studied Fine Arts at the University of Pennsylvania, and graduated with an MFA at the University of California. He now lives and works in New York.

Vierkant makes art that is centred upon the importance of representation across media. This is evidenced throughout his practice, whether in the documentation or the process of creating his works. The interaction between physical and digital entities propagates debates related to both the development of art in a “post-internet” age and to its contemporaneous Intellectual Property rights.

Vierkant's work often exists within the nexus of the physical and the digital, resulting in a hybridisation, illustrated in his decisive exhibition Image-Object, in which works were photographed and then transformed. There is a definite tangible element, communicated through photography, which necessitates the capturing of a physical object. However, by altering the compositions digitally, something fundamentally different and physically nonexistent is created. A digital-image-only existence. Accordingly, Vierkant subverts the conventional teleology of art, which usually ends with the exhibition. This speaks to the evolution of an increasingly digitised culture, in which online interactions are rapidly overtaking physical encounters. In The Image-Object Post Internet Vierkant views his work as a part of a system of meaning, where “Post-Internet objects and images are developed with concern to their particular materiality as well as their vast variety of methods of presentation and dissemination.” Resultantly, the materials he uses, such as aluminum, stainless steel and fibreglass, become representative of the current technological apex.

There is also a concern represented in his exploration of Intellectual Property, where mental creations are labeled as conceptual entities. This form of commodity, enmeshed into social structures, becomes a material that can be used as such or acquired and incorporated into an artwork. This involves a transaction and transmutation; just like any physical material there are limits related to its use. However, these are based upon legal limitations imposed by the owner. This creates a discourse, taking place between boundaries, exploring changing relationships between the virtual and the real and confounding classification. Through his work, Vierkant becomes a sculptor in a traditional sense, a digital artist and a digital sculptor. Each composition contains physical and digital elements, which are integrated into a systemic relationship advancing technologies, branded materials and other Intellectual Property variants.


Vierkant makes art that is centred upon the importance of representation across media. This is evidenced throughout his practice, whether in the documentation or the process of creating his works. The interaction between physical and digital entities propagates debates related to both the development of art in a “post-internet” age and to its contemporaneous Intellectual Property rights.

There is also a concern represented in his exploration of Intellectual Property, where mental creations are labeled as conceptual entities. This form of commodity, enmeshed into social structures, becomes a material that can be used as such or acquired and incorporated into an artwork.


Artie Vierkant
on Artuner

Part of the
exhibition

December 8th, 2014 until
February 25th, 2015
Curated by Kirsty Ogg