The Science of Abstract Art with Daniel Stuelpnagel

If Thou And Nature Can So Gently Part by Daniel Stuelpnagel (2019)

One of the most incredible things about art is how it connects people.

This week we’re talking to Baltimore-based artist Daniel Stuelpnagel. Working abstractly with acrylics, he’s created over 850 pieces and participated in more than 100 exhibitions.

Stuelpnagel studied with Herb Jackson at Davidson College in North Carolina. He now works from a studio near Johns Hopkins University in Baltimore.

Throughout his career, he has practiced philanthropy and donated some of his best works to causes and communities in need.

Experimental D Emptyspace gallery. Images and curation by Daniel Stuelpnagel

What led you to decide to be an artist? Was it something you knew from a very young age or did your passion develop over time? Tell us your story.

I decided to become an artist to discover all the things I never learned in school.

What led me to the decision was a combination of frustration with working an office job for eight years, mixed with a vision of a life in art. I’ve been painting for twenty years, and the past ten years with even more technology immersion. I create images in my paintings that evoke a neural network, or a surreal dream space, or an architectural vector space. So my broad interests in the sciences have informed several facets of the artwork I’ve been producing.

“I love being able to create original paintings that enable me to articulate a non-verbal conversation about science, tech, architecture, emotionality, and human psychology.“

I love how these themes relate to the ways in which we humans have adapted our brains to the latest tech toolsets of the new millennium.

Tech is a really new trend in our society that only goes back one century or so. We’re fostering so much change, yet always struggling massively to “keep up” with the intellectual and emotional and even physical challenges of tech.

I think if you’d ask twelve people about tech, you’d get twelve different answers. But all of them would say that they’re immersed in tech and their working lives are characterized by full days of interacting with computer systems.

So in my work as a counterpoint, I actually use kind of quaint, mid-century modern, “traditional” painting techniques and materials. But the hyper-stylized paintings I’ve been sinking my teeth into for the past two years are a synthesis of my own styles driven by influences from contemporary narrative surrealism, street art, and other movements.

Daniel Stuelpnagel’s art studio

So you can see my passion has developed over time. In my mind, the non-verbal nature of abstraction makes it a perfect arena for exploring intricate emotional, psychological and social forces.

Your process is unique. I’ve never seen anything quite like it. Can you walk us through how you create your pieces?

I layer acrylic on wood panels and use tape to compose many layers of geometric structure. It delivers a collage-like effect but it’s all thin layers of paint. This sequential process is contemplative and also dynamic, it gives me a lot of room to experiment with color and the psychology of composition.

I’ve been sanding down the surface texture and then painting additional layers to yield some fascinating textural yet subtle effects. An interior designer purchased six paintings from me recently — she was thinking of photographing and enlarging the images, but as soon as she saw the originals, she said that the texture made such an impact, she would only buy the originals.

I usually work in series. Sometimes with a dozen or two squares of various sizes, but more recently a landscape format where the land mass is comprised of geometry implying a built environment. This inevitably shows the implications of climate change and the confrontation between human civilization and the natural world. It means the mood of some of my most recent paintings is joyful but tragic.

Now The Fleeting Moon by Daniel Stuelpnagel (2019)

I’ve done about 850 artworks now. My artistic eye and decisiveness that I’ve nurtured for twenty years have brought me to a place where I actually trust a lot of my decisions and choices in the studio.

I feel really galvanized into action by the dynamic zeitgeist of the time that we’re living in. There’s no room for complacency and being prolific helps me grind under constant scrutiny without hesitation to turn things upside down when a new idea emerges.

Do you see technology changing the way we appreciate art?

Tech has absolutely redefined art and continues to expand the boundaries. It’s a force to be considered in every facet of the arts now.

For example, with the D Emptyspace app, I was skeptical at first, thinking “What does it do? Oh, it looks kind of simple.”

But after two days of using it to display and curate photos, I was totally hooked, and having a vision of this enormous virtual museum, or San Francisco gallery, or an art fair exhibition hall, or warehouse, or whatever, right?

It’s a kick in the ass for an artist to have access to tech that encourages you to take a fresh look at your photos of art and nature. It’s a great way to reframe a whole conceptual photo shoot, or storyboard, or take any kind of visual documents into a different scale and context.

Some Innocents Escape Not The Thunderbolt by Daniel Stuelpnagel (2019)

People often label successful artists as ‘talented’. Do you feel like your art comes from a place of talent or hard work? Or do you see art like your TedX collection, always Under Construction?

Ah, for sure you can see both sides of this. On one hand, you have to consider the continuous nature of practice; some type of hard work intellectually and emotionally to figure out the central design principle to focus on. Building the physical skills, the craft and improv, and the techniques and processes of painting.

On the other hand to compare with talent… where does that come from?

I spent much of my school years daydreaming, so I guess being pensive and in solitude gave me a very vivid imagination. I also inherited a ton of intellectual and analytical talents from both my parents.

But that raw talent had nothing to do with painting until much later when I did decide to pursue it as a way to express myself.

Art really inspired and enabled me to travel more also, so that was super important in expanding my world view. I found it’s mostly persistence and determination. Which they call being stubborn when you’re a kid.

You often mention that you work on collections simultaneously, how does that affect your process? Do you consider if the artworks will fit together or do you let the moment guide you?

I guess it’s just like writing a book and having plenty of blank paper or a proper space to work in.

“We’re products of our choices, and by choosing to be prolific, I’ve certainly made some bad paintings, but I also have given myself room to pursue lots of exciting opportunities and variations.”

Some paintings want to spin off ideas for other new paintings, so there’s plenty of catalysts in the process. But it’s only later on that I look at them together and interpret the themes and implications.

When you work on series, the best work sometimes comes first, sometimes later, but invariably I enjoy the visual conversation and curatorially it gives me a lot to select from, which is helpful.

Images and curation by Daniel Stuelpnagel

I would say the D Emptyspace app kind of takes this to a new level because it helps me take a fresh retrospective of some new work in the context of earlier work. The virtual galleries I’ve uploaded have given me a better sense of dynamic interplay, sparked fresh ideas to bring into the studio, and developed my ability to continually think about color and contrast. The app is a great theoretical workspace to analyze the visual characteristics of your photos in a new context.

Click here to visit Daniel’s D Emptyspace gallery “Vector Space Paradise.

How do you know when a work (or a collection) is finished? And do you have a favorite work?

Haha! I do have a ton of faves, almost every series happens because I keep working and feel inspired and encouraged by recent paintings that really took off! That’s another great reason to be as prolific as possible — you kind of have to be self-motivating.

I have a favorite painting from a recent show that is called “Nature Teaches Beasts To Know Their Friends.”

Nature Teaches Beasts To Know Their Friends by Daniel Stuelpnagel (2019)

It’s a return to a dreamlike landscape with some quirks, beautifully saturated colors, and makes me think of a theatrical stage as the psychological arena of the mind for an AI algorithm or something; but it’s still about climate change, human nature, and the post-Anthropocene moment.

“I’ll say a piece is finished when I think it’s doing what I want it to do. When I feel the continuity between the process of creating it and the act of viewing it.”

It could be an abstract story but my imagination connects and enjoys exploring what’s there… it’s evocative. Also, it needs to be elegant and well-crafted, subtle, effervescent, or alternatively raw and dynamic and painterly.

If it has the “wow” factor I know it’s done, which is one reason I love exhibiting: It’s great to get direct feedback from people.

What happens before you share a new collection or open a new gallery? Is it something you enjoy?

I do enjoy it — it’s partly social immersion, part performance art and part trade show (in addition to all the artistry and business functionality behind the scenes).

Artist Daniel Stuelpnagel pictured at Superfine NYC gallery opening

I’ve done shows where we have plenty of lead time before the opening and many others where we’re always installing a day before or the day of the opening, so every experience is different. Before it opens there’s an exploration of the work in juxtaposition with the space and that’s an artistic process in itself.

Before any show opens I generally collaborate with a number of people, clarify the concept, and run down lots of checklists to make it happen. But it’s usually pretty improvisational and that keeps it exciting.

I love showing work in Washington, DC where there’s lots of wonderful architecture. Baltimore is famous for having tons of vacant warehouses and lots of room for alternative venues which tend to be really spacious with high ceilings. I install my work for corporate buyers in office spaces as well.

The title of this piece “Most Good Scientists Are Romantics, “ plays into some very deep subcontext. The point at which science and romanticism meet is fascinating, and to some, conflicting. What does it mean to you?

Most Good Scientists are Romantics Daniel Stuelpnagel (2018)

That title was a phrase I saw in a great book by Alanna Mitchell called The Spinning Magnet, it’s about possible shifts in the Earth’s magnetic poles.

It stayed with me, maybe it’s a deep dualism that is part of my world view; I think the age of supercomputing has forced many different scientific disciplines to work together and collaborate as never before and the results have been amazing.

So I think the romanticism is partly this moment of expansion for so many in the sciences that may have invested decades pursuing a particular narrow specialty, so in a sense, I think their optimism has been rewarded and I find that romantic.

This painting is pretty upbeat but still reflects a lot of consideration and discernment.

Navigating the art world can be baffling for artists, how has your time as a TedXJHU artist changed your career?

Daniel Stuelpnagel’s banner installation at TedXJHU

That particular experience two years ago was me getting to team up with a dozen students at Johns Hopkins University. They had so many great ideas, we did a collab for about two months where I came up with a large banner for the stage, a sculptural display installation for the atrium of the building, another dozen paintings and a wall collage, and four separate installations all for a one-day event. They had to provide, like, three dozen students to help install and load out everything!

I met so many international students, so I think it acquainted me in a fresh and direct way with the kind of energy level that makes a world-class artist.

Daniel Stuelpnagel pictured with students and installation of his works at TedXJHU

Almost the greater challenge with navigating the art world is that we actually have to create it ourselves. So if it’s baffling, it takes us back to the studio and back to the process of self-examination, which brings us to create work that is so distinctive that the sentiments behind it are felt as universal.

It helps to discover a unique connection and find out who can really appreciate your work the more distinctive it is.

I find architects, designers, and corporate clients especially appreciate my paintings for the lengths I go to in order to create an aesthetic durability, and a piece that will continue to intrigue the eye for a lifetime, yet also rewards a quick glance with a clear feeling and unified aesthetic.

A painting in progress by Daniel Stuelpnagel

What advice would you give an aspiring artist who’s just getting started?

I’d say how important it is to find ways to contribute to the community. I’ve been doing philanthropy by choosing to donate some of my best work for charity benefit auctions since day one.

It’s been about fifty or more pieces so far, and it’s connected me to a global community of artists and philanthropists that made me realize I could have an immediate and continuous positive impact in the world.

You’re using D Emptyspace to curate galleries now. What do you think of it?

It’s like an ideal multi-million dollar museum space built in Minecraft. It’s so specific and useful yet so versatile and adaptable as a visualization tool.

It really has great implications and I believe this app could even inspire a whole new generation of curators.

Download D Emptyspace on iOS: https://apple.co/2MhsxCs

Android version coming soon!

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One Californian Curator’s Quest to Represent Diversity

One Californian Curator’s Quest to Represent Diversity

Linemen Series on D Emptyspace

Joseph Abbati is an artist and curator who’s committed to representing the diverse artists of his San Francisco base. He currently curates themed exhibitions at the State of California building for the senator in office. His exhibits bring together a diverse group of artists on subjects such as housing, nightlife, artists over 50, the Bay Area Asian diaspora, LGBTQ Pride, the Global Climate Action Summit, and Latinx culture.

But Abbati isn’t limited to the skill of curation. He creates artwork that explores controversial topics like “Artspeak”, LGBTQ fetish postings, and the striking stand-out poses that populate the feeds of Instagram influencers. While his art leans towards a bright pop aesthetic, the topics Abbati explores indicate his wry sense of humor.

So, read on to find out how he became a high-profile curator, what he wants when looking for artists to feature, and his ironic musings on an art world that takes itself just a little too seriously.

Explore Joseph Abbati’s Art Galleries.

If you want to get a sense of how Abbati curates his galleries, you can now experience them virtually on D Emptyspace:

Body + / Linemen Series / Art Speak

Want to create your own galleries? Click here to download D Emptyspace for IOS from the app store.

What were your early years as an artist like? How did you discover that you wanted to be a painter?

I consider myself more of an artist than a painter. At the present, I’ve been using paint as a medium along with digital vectors. And I use photography to produce tapestries and prints on metal. I’m more multi-disciplinary when it comes to materials.

I started painting when I was a teenager. I had an older cousin that was a painter and she saw that I was artistically inclined and began teaching me to paint. That ultimately started my path to becoming an artist.

Graphic Studies Series by Joseph Abbati

You both create and curate artworks. How did you get involved in curation (especially at such a high level) and do you prefer one activity over the other?

I enjoy both artwork and curating. It all started thanks to an atmosphere of collaboration. Someone at our local Senator’s office saw my work at an exhibition and invited me to put on a display of my art in their building. They liked the work I brought to the office and I suggested curating another exhibit for them with San Francisco Bay Area artists.

The State of California Building has about 10,000 square feet and large open walls, perfect for displaying work. It was a great way for the Senator to reach out to his constituency while filling the offices with Bay Area art. We’ve continued this partnership for over two years with two new exhibits each year.

Artwork is my personal discipline. Curation keeps me in touch with the local art scene and developing new relationships within it.

Tell us a little bit more about your curation work in the senator’s office. Do you find it challenging? How do you balance diversity? And have you ever had pushback on a piece you thought was perfect?

Body + Gallery in D Emptyspace

There is always a challenge when organizing an exhibit. When I put out a call for submissions I want to reach as many people as possible so I can gather the most diverse segments in our community.

A visitor to one of our exhibits asked me why there were no female Latin artists in the exhibit. I had put out the call mistakenly thinking I reached out to enough of the community. But sometimes a particular segment doesn’t respond. So I needed to change the way I reached out. Now I target specific groups within the community. And in October I am curating a Latinx-based exhibit.

I’ve been fortunate to work for a Senator that does not pushback or override my choices. When we had artwork that was nude or sexual in nature I grouped them together strategically in a separate room but there was never a question about whether or not we’d hang the artwork. He and his staff have been very supportive of my efforts to represent the diverse community of artists we have in the San Francisco Bay area.

Among other things, your “Artspeak” Series reveals how difficult it is to describe the visual language of art with a written one. Where did your inspiration for this series come from? And have any brave art critics attempted to describe this series?

Artspeak on D Emptyspace

“Artspeak” comes from a collection of sentences I’ve been saving while reading art reviews, press releases and artist bios. I noticed there was a language used that seemed very obtuse at times. I found these tropes very amusing and saved them, not quite knowing what I would do with them at first.

Then I thought many of these sentences could be applied to almost any artwork so I started to create paintings that served as backdrops to them. I haven’t shown the entire series yet in an exhibit. I just started this series earlier this year and now have one in a group exhibit titled “Language and Letters.”

I noticed when people viewed the painting they seemed to miss the humor I was trying express until I explained the premise. When artwork references a question asking “Is it still possible to forge social autonomy from capitalist dominance in the psycho-economic framework of semiocapitalism?,” it can be intimidating.

By moving these descriptions into another context by questioning what is being said in the art world, it shows us how difficult it is to actually have words to describe a visual language. It’s also amusing to read with an absurdist point of view.

Can you talk us through your recent Linemen series? I’m curious, do you choose famous “influencers” as your models? Or rather unknown men without social media presence?

From the Linemen Series by Joseph Abbati

Some of the influencers I have used for the “Linemen” series are famous amongst the Instagram community. Others are models or “wannabe” influencers.

Their body language is what I found interesting … the way they pose and the attitude they exude.

I started doing these loopy lined figures by drawing them on my iPhone in Sketch for a study. Once I saw what they could represent I then started working on them in Illustrator where my vector drawings could be scaled to my work. The figures are about contour. Without seeing specific facial features or clothing we are already programmed to understand what they mean.

You’re involved in the LGBTQ art scene in San Fransico. How has the artist community grown and changed over the years in your eyes?

“Abonimatrix,” photography on aluminum by Joseph Abbati

Living in San Francisco is difficult for many artists. The LGBTQ community is still very strong here but artists within that community are finding it increasingly difficult to find housing and studios.

When I first moved here it was a relatively inexpensive city to live in. That brought a lot of creative types to the city for decades because it was cheap and had a very open attitude towards different lifestyles. Now that the city is a tech dominated with a lot of money coming into it, artists are being priced out of living here. That’s been the biggest change I’ve seen in the last decade.

As a curator, I imagine you have lots of artists approaching you to display their work. Do you have any do’s and don’ts for artists trying to get curated?

When I put out a call for submissions, I ask for artists to submit up to three pieces. What I prefer to see from artists is a cohesive grouping because I like to give each artist their own section of wall space.

When I get submissions that do not relate well to one another either in technique, subject, or point of view it’s difficult for me to understand what the artist is trying to say. I like to hang pieces that are immediately recognizable for that individual artist. Those work the best for what I am curating.

How do you choose the topics for your curated galleries? Is it based on your own interest or do you have a process?

Joseph Abbati being recognized for his work at the California Capitol Senate floor in Sacramento

We theme our exhibitions to speak sometimes to the congressional work the Senator is doing, and sometimes to subjects I’m interested in exploring. Our first exhibit was on “housing.” The Senator was working on a bill to make housing more accessible because — as I mentioned above — it’s a big issue in the Bay Area… especially for artists. I put out a call for submissions to artists here to see what they were thinking about when it came to the subject.

Since then, we have also done exhibits exploring “Nite Life”, “Queerky” and “QueerEyes” for LGBTQ artists, “eARTh” for the Global Climate Action Summit, “Advanced” for artists over 50 years, “East on West” for artists of the Asian diaspora, and “We Belong- Pertenecemos” for Latinx based artists opening in October.

From the Artspeak Series by Joseph Abbati

Do you have any career plans for the future in art or curation? What’s next?

I have submitted a proposal for a new body of work exploring queer bodies for 2020. This work uses the 50,000+ photographs I collected on Tumblr for a site I curated for eight years. The site has since been taken down when they stopped allowing “adult material” on their platform. By using some of these photographs as my subject material, I can now show them online because they are Illustrations or paintings.

It seems odd to me that a painting of the same subject is acceptable but a photograph is not. They speak about the same thing but our social norms have determined how we can look at it. As for curating, I am beginning to work with other venues in 2020, but with planning three to four exhibits a year and working on my own artwork, I have enough on my plate at the moment

We love what you’ve been doing with D Emptyspace. What’s your process been like using it to curate virtually?

When I downloaded the D Emptyspace app I saw it as a way to do some curating online. I have photographed the spaces I use for my exhibits and Photoshop the artwork into them to help me plan for my curation. I see a great opportunity for D Emptyspace to allow curators to customize the wall spaces they use on the app to help with planning and to also make their exhibits mobile. I also see it as a good opportunity for myself as an artist to visualize my work hanging since I have limited wall space. It would also help me create mobile exhibits I could share for proposals and promotion.

Do you have any upcoming exhibitions where we can see your work in person?

“Multiverse”, 2019, acrylic on board and canvas, 34″ X 30″ by Joseph Abbati

I’ll be working with Art Attack SF to bring a queer based art program to their gallery for the Pride festivities in June 2020. The gallery is located in the Castro district, the “gayborhood” of San Francisco. We’ll be kicking off the month with an exhibit of queer artists and be programing different activities throughout the month to help celebrate. It’s a way to engage the LGBTQ community with the art scene. It’s open to everybody, so come down and show your support!

I just received an invitation to do a one-man exhibit in 2020. The date has not been set yet but it will run for a month some time in the spring. I’ll be posting more information on my Instagram account.

Follow Joseph Abbiati on Instagram or check his website for the latest news.

Download D Emptyspace for iOS: https://apple.co/2MhsxCs

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

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C.

Creating Contemporary Portraiture Through Analog and Digital With Jonnie Turpie

Creating Contemporary Portraiture Through Analog and Digital With Jonnie Turpie

Screen Bed by Jonnie Turpie

Jonnie Turpie makes a range of art from a shared studio in Birmingham, UK. His current calling? A deep dive into contemporary portraiture by mixing digital and traditional media to dramatic effect.

As a teenager, Turpie drew, painted and experimented with photography. Contemporary art was new to him as he entered Art College, but he learned with “great students and teachers that encouraged innovation.”

Following a career in film and television, these days he’s going back to his conceptual roots and working on multiple projects that explore the relationship between digital and analog in a modern world.

Explore Jonnie Turpie’s Art Galleries.

If you want to get a sense of how Turpie challenges the norm by curating his galleries, experience them virtually on D Emptyspace:

New Powder Drops / Powder Drop / Screen Bed / Art Viewers

What’s your story and how did you get to where you are today?

I was enthused by the introduction of portable video and video art. So I started a career in the media where I directed, produced and collaborated on film and TV for 35 years.

It was a rewarding time to embrace digital media — it was during the rise of the internet and social media — and apply the principles to mainstream television.

But recently I realized that if I did not return to the challenges of individual artwork and how drawing, printmaking and smartphone photography mix together as mediums, I would miss the opportunity to investigate, experiment and learn.

From your galleries on D Emptyspace and your website, it looks like you experiment… A LOT. What drives you to keep trying new things?

I enjoy the feedback that comes from trying new approaches to image making in analog and digital environments. Feedback comes from the making and materials themselves: material encounters.

More feedback comes from in the sharing of completed works with subjects and audiences.

‘Artist, Kevin Atherton by Jonnie Turpie. A1 drawn and printed silk screen 2019

I keep reminding and challenging myself to think out of my conceptual artistic box. What I think, or thought was art may not be the case. Through my practice-led research, I am digging deeper to understand what is both artistically possible and rewarding.

I’ve added a ‘New Powder Drop’ Gallery on D Emptyspace that is based on another experimentation with print and powder on paper. When I uploaded them to D Emptyspace, I was inspired to see my A4-sized artwork scaled up to wall size. The effect was astounding. By using a digital space, print media can be transformed beyond logical belief.

A virtual gallery space is a way to extend the work from paper to a virtual space, analog to digital.

New Powder Drop Gallery by Jonnie Turpie

I see from your website that you’ve suffered with numb hands? What’s the story behind that and how has it impacted your art?

A couple of years ago both of my hands became numb with pins and needles. This did not stop my drawing, but it made it more difficult to focus for any length of time. Not good!

Following a number of hand nerve tests and finally an MRI Scan at QUEB the problem was pinpointed in my neck. Two vertebrae were compressed and impinging on my spinal cord. With the expert surgery team, I am now much less numb and enjoying my drawing and printmaking.

To engage with the procedure I made three large scale silkscreen prints from my MRI digital scans: ‘interior self-portraits’. I’m thinking of interpreting them in the virtual wave gallery.

Self portrait triptych silk screen A1 by Jonnie Turpie

You’re doing a PhD titled “A journey between analog and digital”. Can you unpack that for us?

The PhD is a large tripartite theoretical and practical research project into smartphone photography, drawing, and printmaking within the context of the making of contemporary portraiture. It’s about investigating the balance between the immediacy of smartphone digital portraiture. And it considers drawn and printed processes of final large scale portraits on paper for sharing with the subjects and wider audiences.

I haven’t exhibited this work on D Emptyspace yet as the research is still fluid. If you’d like to find out more, you can on my research website.

I have created a darkened gallery of ‘Art Viewers’ which is not a part of the research but is a gallery of digital drawings made with iPad, apple pencil and procrea from a wide range of real world gallery visitors reading information placed next to visual artworks. They are not portraits, but they do capture and reflect viewers in the act of looking and learning about artworks.

Art Viewers by Jonnie

Why do you think it’s important to discuss how art is moving between digital and traditional today, and in the future?

Digital drawing in progress on the app “Procreate” by Jonnie Turpie and Mohammed Ali

Living in the 21st Century makes us ‘analog hands-on’ and ‘digital native’ human beings. Like with all new technologies, artists will seek ways to express themselves and engage audiences.

Digital media is now ubiquitous and all-encompassing and will continue to be so. It is important for us to embrace known and unknown capabilities.

Digital media also supports analog projects and ambitions. I am working with spray painting artist Mohammed Ali to make single collaborative images through simultaneous drawings on twin iPads using an app called Procreate to create a composite image, which is then drawn, painted and printed. We are on a digital and analog journey together.

Jacket Man by Jonnie Turpie and Mohammed Ali. Digital and Multimedia

How does technology alter the meaning of an image for you?

By how images are created, delivered, received and shared. There are many examples of how technology can alter the meaning of an image and the manner in which it is distributed from the printing press to TV to smartphone.

For example, within D Emptyspace, the Powder Drop galleries (click here to view) are completely transforming the experience and perception of very delicate material substances on paper, into large scale digital images on virtual walls. This is an exciting example of how technology can offer meaning, material and perceptual changes to images.

Powder Drop by Jonnie Turpie

Over the past 30 years, technology has changed a lot. Some people are scared, others are excited. Do you personally think technology is adding to our lives and creative capacity as humans?

I do! And it certainly hasn’t reached its peak. AI and VR are in their infancy and will be added as artistic arrows in an artist’s quivers. Like how photography that brought new ways of seeing, recording and painting, new technologies will be embraced, adopted and applied — or not applied — as we reflect our worlds.

As with most art forms, there are digital perils and possibilities to embrace and be challenged by.

Babs. Barbara Walker in the Round room by Jonnie Turpie. A1 Silkscreen 2018 from the series: “People in the Arts”

Follow Jonnie Turpie: Website | Instagram | Twitter

Download D Emptyspace for iOS: https://apple.co/2MhsxCs

Android version coming soon!

Follow D Emptyspace for more company updates and art-curated content!

Website | Twitter | Facebook | Instagram | Download