Altered Esthetics is proud to present Beyond Glitch: Stuart Atteberry’s Solo Exhibition at the Nomad World Pub in Minneapolis. The opening reception will be held on Thursday, April 9th, and the event is free and open to public.
Stuart Atteberry’s work pushes the boundaries of glitch to the logical extreme through complete abstraction of found images. In their latest work, the artist examines the relationships between the intimate and the intimidating in a series of still and video pieces. Glitch techniques are used to bend and sort data deriven from digital images. Pixels drip, float, and sink in large pieces that switch between imposing and organic, recursive and stochastic. Atteberry places the perfection of pure digital in contention with organic forms and shapes, opening the viewer to visions of beauty disconnected from the forced rationality of modern life.
Stuart Atteberry has an eclectic background rooted in painting and technology. Raised in Iowa, Atteberry has been painting and programming since the early 90′s.
Glitch Art, Generative Art, Deconstructing the bits and pieces that make up an imaginary medium. Ideas broken into their basest elements and rearranged, misinterpreted, dehydrated, spoken badly about, chuffed up, and just generally done to.
A digital image is the concept of what an image looks like. I take photographs; 2 dimensional reproductions of what a camera saw. The concept of the reproduction is then broken into discreet ideas of what the colors in that image should be. I use those ideas as a starting point.
A video is a 2 dimensional representation of what a camera saw at a number of discreet instances of time.
I treat each discreet instance to the same series of reinterpretations as I would a single instance. Then I string them together and pretend things are moving.
Usually abstract, pigment based images. This is where I keep photographs, 2 dimensional reproductions of what a camera saw when it looked at paintings I made.
I make paintings in two stages, starting with a perfect ground and then spoiling the ground with pigment and binder. I like it when pigments fight for your attention, pushing each other back and forth, carving out a false dimension in the process.
This is where I keep the words I think when I think about art.
Some people enjoy words. If you enjoy words, I have a number of them here. I put them together in long, ordered collections with the intention of conveying meaning.
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