Media ingestion is one of the great issues (calamity?) of our time. Essentially, we are engorged to the gills. Human civilization is in the midst of a feeding frenzy made up of ample doses of television, social media, text messaging, email, YouTube, radio, the list goes on… There is actually no end to this list, just make up your own and you’ll see it’s no wonder you find yourself without sufficient time for anything in our 24/7 digitally ADD lifestyle.
The media palette we digest each and every day could possibly be inducing varieties of sickness and disease with which we have no cure nor even knowledge of the symptoms. In fact if you stare at this for too long you will soon feel dizzy and nauseous, running to who knows where for a moment of peaceful salvation from the constant acceleration of media stimuli. Round and round and round it goes in your brain until your eyeballs are ready to pop out. This is the digital world we subsist on today, for better or for worse.
Each and every day, I enter my studio like any diligent artist, aiming to process the world out there, a world that has mostly entered into the frenzy, but somehow through this reportage, it seems, I can bring the full gamut of consumption to the surface and to our beleaguered attention. The artist essentially frames moments, the decisive moment, when the subject of analysis is complete and fulfilled in its actualization. Each and every day, I find myself putting frames (or perhaps edges) to the torrent of information that flashes across my screen, re-wrapping it in an enclosure of aesthetics and critique, capturing the moment, and then re-routing it back out again from wherever it came.
This is my process in the studio: an orchestrator of the Feed, the stream – a torrent of pixels and invisible binary data – applying a bit of algorithmic magic to intoxicate the senses, as cathartic shock to the toxic system of the ebb and flow of media ingestion and exhalation.