Artist: Sean Ripple
"textscape" Susan Scafati + Sean Ripple + + + +
Co-Lab Projects' DEMO GALLERY @ The Avenue, 721 Congress Ave, Austin, TX 78702
Open Hours: Thursday-Saturday 12-6pm
"textscape" is a meditation on constructed worlds, communication and connection through the gesture of text messaging. Combining old and new photo- graphic processes, Scafati creates a multitude of iterations of the ubiquitous smart- phone textbox, extensively layering and enlarging its form from its familiar handheld 1-2 inch size to up to 7-feet. This play on scale shifts its physical relationship to the human form and suggests a metaphor for a greater psychological impact on human experience.
Scafati’s artwork takes the form of large-scale archival pigment scrolls comprised of multi-layered cyanotypes and photograms, site-specific acrylic installations, a high- grade mesh banner, jumpsuits, and photocopies. As part of this project, Scafati com- missioned the artist Sean Ripple to create his own original interactive, performance- based works that engage some of the exhibition objects — activating their life beyond the gallery space and further drawing metaphors about public and private, presence and absence, and real and virtual.
Contact Sean Ripple at 512-699-8168 to discuss his artworks for the exhibition.
Susan Scafati is an American contemporary artist whose abstract, conceptual artwork of the past decade has been focused on the ways in which individual versus collective identities, per- sonal versus cultural mythologies, are constructed. Subjects that have provided a framework for these interests include personal archives, domestic spaces, bullfights, nuns, robot competitions, football, fishermen, and ant colonies. Across these bodies of work, she contemplates the iconography and materiality that contribute to the way meaning is organized and its impact on human experience. She has created her artwork abroad in Italy, France, China, Japan, and Aus- tralia, as well as in the United States.
Sean Ripple is a content provider, exhibitor, and curator based in Austin, TX. He has exhibited in Austin almost exclusively since 2003 and relies heavily on social media and the Internet to create intuitive, highly impulsive, and discursive works which are modest in scale. Ripple seeks to merely suggest what it is that he wants to convey to an audience, similar to how an impres- sionist might represent a cathedral as a ghostly figment of their own perception. The texts he uses to help identify the conceptual underpinnings of his artworks are often densely awkward and burdensome. He believes his approach to be one in which a deep sense of confusion in an age of rapid, technologically-induced destabilization across all sectors and aspects of culture is given a dedicated voice.
This project is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department.
"Clean Cache" Sean Ripple + + + + +
For the month of February, Sean Ripple will take the reigns of Co-Lab’s Instagram feed. Each work uploaded can be thought of as a gift (if you choose to screengrab) or simply streaming content to keep the lint in your pocket/the compact mirror in your purse company. Experiments, requests, secrets, car rides, bathrooms, bookstores, narratives, confessions, drawings, interventions, performances, patterns, back alleys, trash bins, #zzzzzzzzz, and stuff….
Sean Ripple is an artist living in Austin, TX. www.seanripple.net
"Visceral Automation" Sean Ripple + + + + +
Co-lab Project Space
Significantly aided by computational technology, contemporary society has become increasingly adept at replicating/duplicating products, environments, and exact outcomes of prior experience.
Is this drive to duplicate/replicate products, environments, and outcomes of prior experience (a major motivating force behind industrial manufacturing, chain restaurants/chain stores and science among other examples not considered) at odds with the unique individual and a less predictable reality, or are such ideas as the unique individual and a less predictable reality simply myths perpetuated by less organized and undisciplined members of humanity and that in truth, the drive to successfully duplicate/replicate products, environments, and exact outcomes of prior experience is, like biological reproduction itself, integral to humanity’s continuance?
As a means of exploring the aforementioned questions, artist Sean Ripple will attempt to replicate a previously realized self-portrait in a real-time 25-minute period. The source of verification for the real-time work’s fidelity to the previously realized portraits will be a video (simultaneously exhibited) of the artist painting the original portrait in the same location as the real-time performance.
A rhythmic score composed by Sean Ripple will accompany the 25-minute performance.
Because the artist will not be using computationally based automation (which can be thought of as a limited number of responses to a given scenario) to achieve his result, but instead will attempt to replicate the portrait viscerally, it is very likely that deviations from the source portrait will occur.
Do the unintended deviations from the source portrait prove the artist to be an inferior producer, or do they substantiate the notion that despite our best intentions to replicate/duplicate products, environments, and exact outcomes of prior experience as a means to control reality, a less predictable reality is at the wheel which automation only superficially denies?
"Artificial Scarcity" Sean Ripple + + + + +
With the advent of digital cameras and associated mainstream online forums such as flickr and youtube, the modernist impulse to create art for art’s sake has given way to a sort of user-generated white noise, where one’s ability to stream content without restraint merges with another’s unrestrained need to stream content, leaving little room for individual distinction. Like names in a phone book that point to an ocean of individuals who have little relevancy in one’s day to day life, streaming art for an online public tends to exist with little context and as result, flounders in a kind of atomized digital anonymity.
Artificial Scarcity is Ripple’s attempt to rescue three years worth of art photography from the digital abyss by pulling a publicity stunt of sorts, highlighting the role that the audience/institution/collector plays in determining the worth of artistic output.
Ripple will exhibit an installation that includes a documentary video of a process-oriented work where he distributes 5x7 prints of all the images from his flickr stream throughout Austin, San Antonio, Houston, Berlin, Los Angeles, and New York and moves all the digital copies of the photos onto disc, puts the discs into a padded mailer, deletes the image files from his flickr account and his hard drive, tosses the padded envelope from the window of a moving car and sets back out to find the padded envelope that contains the discs the first weekend in December. If the discs are found, you better believe they’re for sale. If they’re not found, the 5x7 prints and a few blog site copies of the images will be all that remain of the work.