Still Life Installation View 2017 As the title suggests, the exhibition uses material and process to transgress the boundary between stillness and life to reveal unexpected sympathies that emerge from examining virtual corporeality such as value and waste, self and other, cognition and physiology, real and representational. Materials include everything from gold I’ve dug out of the earth, porcelain casts of 3D scans, mosquitoes, to Jaquard Woven Tapestries and mannequins salvaged from the American Apparel bankruptcy liquidation. The objects aren’t really just the things in themselves, but they carry a coded memory of their personal, material, and cultural relations.
Still Life
Installation View
2017
As the title suggests, the exhibition uses material and process to transgress the boundary between stillness and life to reveal unexpected sympathies that emerge from examining virtual corporeality such as value and waste, self and other, cognition and physiology, real and representational. Materials include everything from gold I’ve dug out of the earth, porcelain casts of 3D scans, mosquitoes, to Jaquard Woven Tapestries and mannequins salvaged from the American Apparel bankruptcy liquidation. The objects aren’t really just the things in themselves, but they carry a coded memory of their personal, material, and cultural relations.
Still Life Installation View 2017
Still Life
Installation View
2017
A / fisherman / hunts / a / shark / with / a / gun Archival Pigment Print 28 x 35 in 2017 A 3D scan of a mannequin acquired during the American Apparel Bankruptcy asset liquidation. The virtual sculpture was made in collaboration with the physics algorithm of the modeling program which calculates the draping of the cloth over the model.
A / fisherman / hunts / a / shark / with / a / gun
Archival Pigment Print
28 x 35 in
2017
A 3D scan of a mannequin acquired during the American Apparel Bankruptcy asset liquidation. The virtual sculpture was made in collaboration with the physics algorithm of the modeling program which calculates the draping of the cloth over the model.
The drone is not distracted by the perfume of flowers 4k Digital Animation 00:02:36 (looping) 2017 The animation is inspired by the failure of the swarm model’s promise to form new radical behaviors that arise from networked interactions individual agents (Hardt & Negri). Rather than manifesting emergent behaviors, the dismembered hive is broken into creative units rendering a linear production of commodity.
The drone is not distracted by the perfume of flowers
4k Digital Animation
00:02:36 (looping)
2017
The animation is inspired by the failure of the swarm model’s promise to form new radical behaviors that arise from networked interactions individual agents (Hardt & Negri). Rather than manifesting emergent behaviors, the dismembered hive is broken into creative units rendering a linear production of commodity.
Still Life (Vanitas) Archival Pigment Print 19 x 23 inches 2017 A still life made from a collection of 3D scans. It is inspired by the Vanitas paintings of the of the 16th and 17th centuries in Flanders and the Netherlands. The vanitas painting style coincided with the height of Dutch Colonial Empire; a period of accumulated capital largely based on trade in slave labor. The paintings were popular with mercantile class and are some of the first examples of images circulating outside of the church and noble classes so in many ways were examples of the first ‘social images.’ They were meant ‘illustrate the inevitability of death and the transience and vanity of earthly achievements.’
Still Life (Vanitas)
Archival Pigment Print
19 x 23 inches
2017
A still life made from a collection of 3D scans. It is inspired by the Vanitas paintings of the of the 16th and 17th centuries in Flanders and the Netherlands. The vanitas painting style coincided with the height of Dutch Colonial Empire; a period of accumulated capital largely based on trade in slave labor. The paintings were popular with mercantile class and are some of the first examples of images circulating outside of the church and noble classes so in many ways were examples of the first ‘social images.’ They were meant ‘illustrate the inevitability of death and the transience and vanity of earthly achievements.’
Vessel Slip Cast Porcelain from 3D Printed Scan 4 x 3.5 x 4.5 inches 2017
Vessel
Slip Cast Porcelain from 3D Printed Scan
4 x 3.5 x 4.5 inches
2017
Vessel (detail) Slip Cast Porcelain from 3D Printed Scan 4 x 3.5 x 4.5 inches 2017
Vessel (detail)
Slip Cast Porcelain from 3D Printed Scan
4 x 3.5 x 4.5 inches
2017
Just This One Thing Instagram Feed 2017 - present 3D scans of objects from domestic spaces are used to recreate images found on social media feeds and Lifestyle Magazines. The renders of the 3D scans recreate non-specific placelessness of the source images. The rendered images were reposted to Instagram, woven into textiles, and printed in magazine format. The work navigates planes of slippage between the finitude of physicality, and the interminable capacity of virtualization.
Just This One Thing
Instagram Feed
2017 - present
3D scans of objects from domestic spaces are used to recreate images found on social media feeds and Lifestyle Magazines. The renders of the 3D scans recreate non-specific placelessness of the source images. The rendered images were reposted to Instagram, woven into textiles, and printed in magazine format. The work navigates planes of slippage between the finitude of physicality, and the interminable capacity of virtualization.
Just This One Thing #stilllife #kitchenaesthetics #sundaybrunch Instagram Feed 2017 - present
Just This One Thing #stilllife #kitchenaesthetics #sundaybrunch
Instagram Feed
2017 - present
Still Life (Magazine) 8.5×11 inches 2017
Still Life (Magazine)
8.5×11 inches
2017
Still Life (Magazine) #stilllife #overcast #sartorialsolitude (left), #stilllife #rainydays #quietlight #objectsandarchitecture (right) 8.5×11 inches 2017
Still Life (Magazine)
#stilllife #overcast #sartorialsolitude (left), #stilllife #rainydays #quietlight #objectsandarchitecture (right)
8.5×11 inches
2017
Still Life (Magazine) #stilllife #handmadeceramics #rainydays (left), #stilllife #omithoalum #handmadeceramics (right) 8.5×11 inches 2017
Still Life (Magazine)
#stilllife #handmadeceramics #rainydays (left), #stilllife #omithoalum #handmadeceramics (right)
8.5×11 inches
2017
Lilium Candidum, Rosa ‘Madame A. Meilland’, Alstroemeria (Night I) 2017 Archival Pigment Print Dimensions Variable
Lilium Candidum, Rosa ‘Madame A. Meilland’, Alstroemeria (Night I)
2017
Archival Pigment Print
Dimensions Variable
Lilium Candidum, Rosa ‘Madame A. Meilland’, Alstroemeria (Night II) 2017 Archival Pigment Print Dimensions Variable
Lilium Candidum, Rosa ‘Madame A. Meilland’, Alstroemeria (Night II)
2017
Archival Pigment Print
Dimensions Variable
Developer Inkjet on Vellum and steel bracing 96 x 120 inches 2017 Photograph of the Gold Country landscape printed in negative. The photograph was taken at the site where the gold was struck for the piece, Dust to Dust. Given enough time, solar radiation from the opposing window will ‘develop’ the photograph on the architectural surface.
Developer
Inkjet on Vellum and steel bracing
96 x 120 inches
2017
Photograph of the Gold Country landscape printed in negative. The photograph was taken at the site where the gold was struck for the piece, Dust to Dust. Given enough time, solar radiation from the opposing window will ‘develop’ the photograph on the architectural surface.
Dust to Dust Dimensions Variable Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting 2017 In 2016 I attempted to extract One Ounce of gold from the Earth and raised a generation of mosquitos. Both of these very material things are embedded in stories of digital technologies in ways that connect back to corporeality. On the one hand, the extraction is method for value creation vis–à–vis material transformation through labor (the artist through the gold, the mosquitos through blood meal).
Dust to Dust
Dimensions Variable
Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting
2017
In 2016 I attempted to extract One Ounce of gold from the Earth and raised a generation of mosquitos. Both of these very material things are embedded in stories of digital technologies in ways that connect back to corporeality. On the one hand, the extraction is method for value creation vis–à–vis material transformation through labor (the artist through the gold, the mosquitos through blood meal).
Dust to Dust (detail of vitrine containing gold) Dimensions Variable Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting 2017 The pairing of the metaphors and [hi]stories of Silicon Valley and California’s Gold Rush era draw a through line of value creation associated with a masculine entrepreneurial ideology. Alternatively, it’s hard not to think about the mosquito without thinking of the virus, currently associated with darkness circumscribed by femininity and fertility, or of the mosquitos migration to new territories as an index of Climate Change- something that’s shifting the narrative of a benevolent ‘mother earth.’
Dust to Dust (detail of vitrine containing gold)
Dimensions Variable
Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting
2017
The pairing of the metaphors and [hi]stories of Silicon Valley and California’s Gold Rush era draw a through line of value creation associated with a masculine entrepreneurial ideology. Alternatively, it’s hard not to think about the mosquito without thinking of the virus, currently associated with darkness circumscribed by femininity and fertility, or of the mosquitos migration to new territories as an index of Climate Change- something that’s shifting the narrative of a benevolent ‘mother earth.’
Dust to Dust (detail of gold) Dimensions Variable Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting 2017
Dust to Dust (detail of gold)
Dimensions Variable
Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting
2017
Dust to Dust (detail) Dimensions Variable Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting 2017 Two glass vessels are placed inside a netted veil suspended from the ceiling illuminated by a full-spectrum hydroponic LED grow-lamp. One vessel contains mosquito larvae born from adult mosquitos raised in the studio, the other contains a 10% sugar solution that the hatched insects feed on. Mosquito larvae are born sterile (no viruses), it is only when they feed on blood that the animals carry the virus.
Dust to Dust (detail)
Dimensions Variable
Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting
2017
Two glass vessels are placed inside a netted veil suspended from the ceiling illuminated by a full-spectrum hydroponic LED grow-lamp. One vessel contains mosquito larvae born from adult mosquitos raised in the studio, the other contains a 10% sugar solution that the hatched insects feed on. Mosquito larvae are born sterile (no viruses), it is only when they feed on blood that the animals carry the virus.
Dust to Dust (detail) Dimensions Variable Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting 2017 Female Mosquitoes need the protein from blood meals to develop eggs, male mosquitoes live on sugar. Hence, only female mosquitos carry the viruses the insect is commonly associated with. If no blood is taken, the mosquitoes will simply live out their life without reproduction.
Dust to Dust (detail)
Dimensions Variable
Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting
2017
Female Mosquitoes need the protein from blood meals to develop eggs, male mosquitoes live on sugar. Hence, only female mosquitos carry the viruses the insect is commonly associated with. If no blood is taken, the mosquitoes will simply live out their life without reproduction.
Dust to Dust (performance view) Dimensions Variable Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting 2017
Dust to Dust (performance view)
Dimensions Variable
Gold dust, mosquitoes, sugar water, acrylic, nylon, aluminum and LED lighting
2017

STILL LIFE (AIMEE FRIBERG EXHIBITIONS), 2017

Still Life
Aimee Friberg Exhibitions
January – March 2017

The exhibition features work across varied media and explores the way technology reshapes the relationship between humans and the physical world. The works come from oblique vantage points, but weaves together to form a narrative that follows my attempts to make sense of the self within massive systems that can only be partially accessed through a technological lens.