[dNASAb] Selected Exhibitions

2010
"dataclysmic", Frederieke Taylor Gallery, NYC,solo,January 7th-February 20th-2010
"LUMEN" Middlesex County College,Edison,NJ,group,January -February 2010_________________ “ArtForum” Artist Lecture Series, Montclair State University, Jan, Feb, + Mar 2010
"The Experimental Sequential” International Streaming Festival (The Hague), NL
“10th Anniversary Invitational #2”. Frederieke Taylor Gallery,Nyc, April-May,2010

2009
"Contemporary Art + Social Media" Art Salon",Art Basel,Miami Beach Convention Ctr.panel Dec-3rd '09
"NEXT POST.Solo Projects Exhibition", Rupert Ravens Contemporary,NJ February 28th-April 11th 2009
"Currents in Contemporary Photography" Flanders Art Gallery,Raleigh,NC, jan-feb 2009
"Tomorrow City" Incheon Korea, Robot video project, Janet Oh Gallery, Seoul Korea 2009
"Microsoft Gallery" Internet Week Exhibition, 414 W. 14th st, NYC 2009
Microsoft permanent collection acquires 4 large photographs for the collection, Redmond WA 2009
John + Diane Marek Collection Acquisition, large 3 channel video installation, Chattanooga,TN 2009
"GLOW" AnnMarie Sculpture Park in association w/ Smithsonian Institute MD Nov 24th- Feb 14th 2010 "system:system" curated by Christina Vassallo, St. Cecilia’s Convent, Brooklyn, NY Oct . 2009
"Art Forum Lecture Series" Montclaire State University Fall 2009

2008
"Drift"NCCA MOSCOW,National Center for Contemporary Art Moscow,Nov. 2008
Frederieke Taylor Gallery nyc,"solo project" Bridge Art Fair,Art Basel, Miami 2008
"INformation" Bric Rotunda Gallery ,NY curated by Elizabeth Ferrer November 2008
"AstralProjections" Secret Project Robot,NY,group a/v sculpture show,April 2008
"Best of [PAM]" Perpetual Art Machine curated video program, ScopeNy,group March 2008
"Info-sphere Aesthetics"University of Tenneessee at Chattanooga solo show February 2008

2007
"LIVE" curated by Elizabeth M. Grady Whitney Museum w/ Marc dePuechredon at Supreme Trading "iPODEcosystem" The Los Angeles International Art Fair,Spinello Gallery
"Random Access Poetics" Brooklyn New Media artists, vertexList,NY group
"Video as Urban Condition"Lentos Kuntsmuseum/ Museum of Modern Art Linz,Austria
"iPod Sculptures" Bridge Art Fair 07',Chicago, Romo Gallery
"Video Salon 2" Galerija10m2 Sarajevo, group video
"10 plus 10" Marc dePuechredon gallery, Basel Switzerland
"Venice Video Festival" during Venice Biennale,group video
Galleries at Peeler, DePauw University solo show Aug.22nd,SOLO
"VideoArt in the Age of the Internet" Chelsea Art Museum,NYC,group
"Particulate" Lump West Gallery, Eugene,OR,group
"Particulate 2 "Vox Populi Gallery,Philadelphia ,group
"Paris SHOWoff Art Fair" Paris,FR
"Istanbul Contermporary Art Fair' Istanbul Turkey
"PHOTOmiami 07'" Miami FL,ArtBasel
"Teleculture" Pace University Digital Arts Gallery,NYC,group

2006
"North American Exhibition of Paper and Plastic Arts" SwopeArt Musuem,IN
"Land Tracking Land" Rochester Contemporary,NY
"50 Minutes" Show OFF,Marc de Puechredon gallery Paris FR
"The Affair"at the Jupiter Hotel,Portland,OR,Romo Gallery
"Future Perfect"Curators Choice,curated by Lee Wells ScopeHamptons NY
"Experimental Televison Center" International Summer Residency, Alfred University NY
"One Year Later"Romo gallery, Atlanta, GA.group
"All Systems Go" Curated by Marisa Olson for Rhizome at ScopeNY.group
"Perpetual Art Machine" Cinemascope gallery at ScopeNY.group

2005
" Hey Hot Shot", Jen Bekman Gallery,NYC group
“ Obscure Sexual Habits of Wireless Data”, Romo gallery, Atlanta, GA.solo
“ Top 40”, The Los Angeles Center For Digital Arts, Los Angeles, CA, group

2004
" Unframed First Look 04'" curated by Cindy Sherman, Jack Pierson and Adam Fuss, Sean Kelly Gallery, New York, NY, group

2003
" Brave Destiny", Williamsburg Art and Historical Center, Brooklyn, NY, group
" EHIVE", Fluxcore Art Space, Brooklyn, NY,group
" EYEWASH" ,FREIGHT, New York, NY, group

2002
" INVOLUTION", BPM, New York, NY, group
" FUSION", curated by D'Angelo Thompson, group
“ NOMUSIC TOURNAMENT”, World Audio Tournament, internet based group
“ THE RESONANT WAVE”, The Spannwerk, Berlin,Germany, group

2001
“ National Coalition Against Censorship. ART NOW: Nationwide Artistic Responses to September 11 & Its Aftermath,” Rhizome.org, New York, NY, internet based group exhibition
"RGB:between digital lines", SmackMellon Studios, Brooklyn, NY, performance based installation
" OVM organic visual messages" Independent Experimental Video Festival, Brooklyn, NY, group
"Surface Geographies and the Land Behind Our Eyes:"New York Center for Media Arts,LIC, NY
" Regurgitation Show" The Art Center on First, Jersey City, NJ, group
" LITESHOW" part of Boston CyberArts 2001,Boston MA,group

2000
Tech-KNOW LOGIC.Moving Image Gallery.[Michelle Thursz\,Moving Image Gallery, New York, NY,2000, group
" Artimation”,Digital Moving Image presentation in collaboration with Makor Screening Room May 30 - June 1, 2000

1999
“Apocolypse 99', Williamsburg Arts & Historical Society ,Brooklyn ,NY, group

1998
“ Future Garden?", public installation, Houston and 14th Street, New York, New York

1997
“ Urban Consumption Research 001, First Internet Based Work, public and internet based installation, New York Subway transit system, New York, New York.

Selected Bibliography

Susan Knowles "Sculpture in the 21st Century" SCULPTURE Magazine, vol 27 no. 9, nov 2008

Denise Sanabria "Mark Andreas +[dNASAb] +Ryan Wolfe" ArtPapers Magazine, Aug. 2008. pgs 56

Julie Rooney "The sexy turnwheel: New media and the art of [dNASAb]" The DePauw Newspaper,August .31..2007 http://media.www.thedepauw.com/media/storage/paper912/news/2007/08/31/Features/The-Sexy.Turnwheel. New.Media.And.The.Art.Of.dnasab-2961723.shtml

Vanessa Paech "Is that an Ecosystem in your pocket?" ArtsHub,April 12th 2007 http://www.artshub.com/us/news.asp?sId=15649&catId=0

Caryn Coleman"I-SEXY/UBER SEXY SCULPTURE" Art.Blogging.La, Mar.20,2007 http://www.art.blogging.la/archives/2007/03/isexy_sculpture.phtml

Eddie Hargreaves "iPod sculptures featured in Art exhibition" theAPPLEblog, Mar.25th,2007 http://theappleblog.com/2007/03/25/ipod-sculptures-featured-in-art-exhibition/

Caroline McCarthy "New in post-postmodern art : ipods that a'splode" CNet, Mar.23rd,2007 http://www.crave.cnet.com/8301-1_105-9700285-.html?part=rss&ag=rssad.6170024&ubj=news

Bureau Report "iPod an enduring symbol of pop culture" ZeeNews India, Mar.06,2007 http://www.zeenews.com/articles.asp?aid=35828&sid=lif&ssid=204

Johhny Evans "Reality Distortion: iPod as an art form" MacWorld,Feb.28th,2007 http://www.macworld.com/blogs/index.cfm?blogid=1&entryid=89

Bobbi Rebell "iPods elevated to pop art" REUTERS NEWS, Feb. 27th.2007 http://www.reuters.com/news/video?videoId=14657

Christian Gattoni"Un designer des echanges informels" La Critique, Oct.19th,2006 http://www.lacritique.org/article-un-designer-informel

Martin Dawber "PIXEL SURGEONS Extreme Manipulation of the Figure in Photography" published in 2005 by Mitchell Beazley,Octopus Publishing Group pp.56-62

Catherine Fox "VISUAL ARTS: Two diverse visions worth comparing" The Atlanta Journal-Constitution
(Atlanta GA Sunday, June 26, 2005)

Felicia Feaster "THE OBSCURE SEXUAL HABITS OF WIRELESS DATA"
Atlanta.Creativeloafing.com . (Atlanta GA July7th-July 13th,2005)

Education2006"Experimental Televison Center International Summer Residency" Alfred University,NY
1994 Bachelor of Fine Arts in Sculpture and Mixed Media, Florida State University, Tallahassee, Florida

Lives and works in Brooklyn, New York since 1997.
Represented by Frederieke Taylor Gallery nyc,and Marc de Puechredon Gallery_ Basel Switzerland

[_Artist Statement_]
[_"Future Genetic Anomalies" "Dark Science"," LCD_Blossoms" _]

  My work references future technological advancements in which singularities occur between species and science. Human technologies have made visible territories once believed to not even exist. Continually through the advancements of science we are able to “see” more of the natural world and consequentially manipulate it for our purposes. I create complex sculptural systems based on the shapes of genetics, nature and technology. These systems become ecosystems where a symbiotic relationship occurs between disparate materials, L.E.D's, fiber optics, sculptural materials and consumer electronics.  This a paradoxical time period when genetic-organic materials grow together, fuse into complex new systems, with computers and technology. I am inspired by the ideas of this inevitable conglomeration . Is not a television already a unique example of this fusion, minus the genetics? It is a technological hardware device but it creates/delivers ideas via the organic, light and sound waves. This seemed impossible or far-fetched, as well, "Pre-TV". Already we are being met at the marketplace with other more recent examples like OLED technologies, organic light emitting diodes as tv screens, enhanced by natural phospherescence properties. I envision a home entertainment system more closely resembling a garden of living tissues than a stack of boxy hardwares. A new natural landscape of ecosystems growing around our technologies is emerging as reality. Plugging in our devices to living power sources, Is it in the near future? Clusters of shimmering schools of animatronic video screens, Is it far fetched? Organic interactive replicating video organisms, Is it impossible? Actualizing works that instigate these kinds of questions is my intention.

  I am also passionate about exploiting underutilized spaces to create sculpture. The “LCD_Blossom” video sculptures exist in a completely new site for sculpture. The surface of the screen,  and the space between the viewer and the screen. Although in that space is an unseen landscape; surely in the future this unseen space will be filled. With 3d imagery like Holographs, or quickly shape shifting matter, animating in three dimensions the way a TV would in two. I am creating works that speak of this transition. I even for-see nostalgia for my video sculptures in the far future, and an “I remember owning that particular piece of electronics” conversation. Which also nicely time period dates the works.

  I create in the materials of the “now”, consumer electronics. I also am not interested in hiding the technology, but rather to use it in new ways. To make it visible to the viewer that I am using a screen, the same as the 50 hung together in the Best Buy store, or the 20 in your favorite sports bar, or even the one in your living room. They are the same. I have just chosen to utilize the screen in a similar way as a canvas for painting. Trying to seamlessly integrate the in-motion 2d image, and the physical sculptural component that is truly three-dimensional.

  As artists we create in a state of evolving flux, my work references this. For the majority of the art histories, the tools of the artist where fairly stagnant, compared to the tools with which we create. They are continually morphing, rapidly, exponentially evolving. You can see this in my work. There is velocity, direction, and evolutionary motion.

[dNASAb] 2009

[ARTIST STATEMENT_"iPod ECOSYSTEMS"_[dNASAb]

While on International Residency at the Experimental Television Center part of Alfred University
in 2006, [dNASAb] worked with a hardware video synthesizer made by Nam June Paik/Abe
called the Wobulator. In an effort to visualize the information and energy spewing from the
synthesizer , [dNASAb] created a temporary photographic environment utilizing the Wobulator.
This piece inspired many ideas about the distribution and display of video art via video sculpture.

Already creating I-Pod videos formatted for global delivery via the internet and I-Tunes ,it
seemed a natural progression to work with the most recognizable handheld mobile video devices.
The I-Pod, now being 5 years old, is deeply integrated into the lives of millions globally and speaks of the fetishism that modern consumers have for new electronic mobile devices.
[dNASAb] sees these new devices as raw materials for artistic creation . Thus the beginning of the I-pod sculpture series.

The first group are continuously looping ,wall hanging ,painted audio/video sculptures .The sculpture actually provides the energy and audio components to make the I-Pod have a life and voice, It is a symbiotic relationship . The sculptural elements are congruent to the video and speak of the "movement and velocity of cultural "living data" , and comments on the speed of change with which ideas travel and evolve .Each I-Pod has its own unique custom videos and video play-lists relating to the sculptural elements. [dNASAb] also has started to work directly onto the I-Pod screens sculpturally, integrating an image in motion on a two-dimensional screen is a visionary artistic precursor to the actual future technological advancements of video fabrics , holographic projection screens ,and virtual reality .These experiments pose interesting questions such as "What kind of ecosystem would an I-Pod flourish in ?" "Does the place where the I-Pod resides have any relationship to the content contained there in ""Can sculptural components enhance the aesthetic of the I-Pod and its content?" Which is more valuable the vessel or the content?

ARTIST STATEMENT_"Obscure Sexual Habit of Wireless Data"

The series titled "Obscure Sexual Habits of Wireless Data" are unique hybrids inspired by my pursuit to visualize and create the possible aesthetics of wireless data, and the invisible complex systems of overlapping networks.The data that propels our daily lives, such as cell phone conversations,WIFI hot spots, and digital television programming broadcast from satellites, are attached to organic waveforms in specific frequencies called carrier waves. This a launching point for my visionary effort to make these systems visible. Where does the organic nature cease to exist in the merging, linking, dissemination, duplication, and dispersion of data? I imagine how data interfaces with each other; do terms like "sexual" or "asexual ” data reproduction apply? Does it look like a tangled web of pornographic flesh caught in the acts of perversion? My works experiment from various vantage points and sizes,even focusing on the macro imagery of single pieces of data interfacing. I envision and focus on reinterpreting the chaotic, swirling vortexes and clusters of data spewing from cell phone antennas,what I loosely term"communication grafitti". The complex layers upon layers of data systems and networks; filling our skies; voluminous with information and their undecipherable visual complexities.

I also am passionately inspired by what I loosely call the 'pre-future'.A time period in which is the most tumultous in terms of quickly changing technololgies to date. We have become test subjects for technologies with unknown effects to humans in the long-term,and by the time these technolgies reach the consumer level they are already outdated and obsolete. I use the antiquated hardware, but to dream a truely utopian future, one that is green,clean,healthy and soft. Not the pre-future where artists still live breathing lead dust,asbestos,and unburnt gasoline,while muddling through the litter,pollution and by-products of a hyper-economic lifestyle. The works I create are visionary in concept but still rooted in the pre-future ,in the NOW,and created with the low-tech materials and methods of the NOW;acrylic paints and brush, construction materials of the NOW such as steel studs,aluminum,plastics, high-density polyethylenes,plexiglass,photgraphic film,and antiquated computers and ink-jet printers.

Some technology companies have made a shallow attempt at creating some icons to depict the motion of wirelss data. For instance,T-mobile has copyrighted the concentric red circles to symbolize hot spots or wireless hubs and Hewlett-Packard and Microsoft have been using colored arrows in motion to depict traveling wireless data. They strip down the complexities and focus on the lowest common denominator of symbols,symbols which modern man can easily accept,and these symbols are used solely for the purpose of marketing and branding their products for the marketplace. My focus is the exact opposite.In times when truths are unclear hidden in detritus and society and its networks are chaotically overlapped in undecipherable complexity I want to convey these frenzied,snarled webs for what they are.
Systems overlayed upon systems dependant on each other, ad-hoc networks patched together never clearly planned for the future just clumsily improvising day to day.Temporary and short sighted solutions for permanent problems primarily guided by economic decision making.

[PLEASE NOTE the works included in this package ARE NOT DIGITAL,PHOTOSHOP CREATED
IMAGES BUT PAINTINGS AND INSTALLATIONS ROOTED IN THE PHYSICAL FUSED WITH THE PHOTOGRAPHIC
PROCESS]]]

_ © [dNASAb] ,tc43.com 1997-2010