Press Release

February 7 - 11, 2022
organicmaterialnft@gmail.com

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In the first collective release under the name Organic Material, the core members have brought together a group of artists whose practices extend outside solely that of the digital. For some, with the arrival of art on the blockchain, this is their first foray into the digital world, for others, the digital works presented here represent the newest works produced from long standing relationships with the digital medium that have been built over the course of many decades. In bringing this group of artists together, Organic Material reveals the provenance of artists beyond their blockchain ledgers; a provenance that is enmeshed within the history of art and creative production.

A.L. Crego, a digital artist, and poet, who uses software to create hypnotic animations that draw us in and connect digital experiences to our consciousness. His GIFs/Animations expand, contract, and pulse effectively creating a space for a meditation amongst the noise of social media/internet culture.

The works from Mark Dorf’s series “The Way We’ve Always Seen” uncover connections between design, urbanism, and what is commonly considered “Nature”—connections that have always existed in symbiosis, but are rarely recognized as reality.

Hybrid forms emerge from the confluence of nature, architecture, abstraction, and the unconscious in Sara Ludy’s work. These enmeshed abstract ephemeral images reflect an uncanny presence that questions our relationship to immateriality and space.

In Amir H. Fallah’s digital works, his painting practice is seamlessly extended, although in a notably different manner, into the digital sphere acting as a logical extension of his materially and conceptually refined creative practice. The intertwining and diverse compositional components found in Fallah’s works reflect his personal history, ideas of race and representation, and the memories of cultures left behind.

Skye Nicolas' work explores what he refers to as ‘induced nostalgia’, prompted by the layering of cerebral readymades and youth culture tropes. His playful virtual fragments spark a digital déjà vu.

Lorna Mills' work explores how "the notion of public decency is anachronistic". Images in her GIFs are gathered from the darknet on sites such as 4chan, porn fails, and Russian domains. She transforms the unsettling imagery into playful and irreverent GIFs.

Kristen Roos’ digital practice uses vintage software and hardware to create animated works that mine the aesthetics of past generations of technology and the web. Complementing this digital practice Roos continues this exploration through textiles, printmaking, and electronic and electroacoustic music composition.

Colette Robbins’ 21st-century approach to art-making exemplifies the presence of the artist’s hand in new technology. Drawing on her early training as a painter, she digitally sculpts in a mode similar to how she would sketch or paint. Through this 3D software and traditional training lens, she forms a closeness with ancient artists and artisans as she digitally ‘touches’ files of historical remnants.

Mark Schoening’s expansive practice of painting and sculpture employs multiple forms of digital fabrication and design. He is interested in obsessive forms of play through the construction of physical and digital works that take on the appearance of psychological toys dictated by pattern, repetition, symmetry, variable, and order.

Artist talks will be held in Twitter spaces during the week of February 7th at 1pm PST / 4pm EST / 6pm GMT.