Installation: Algorithmic prints on board + audio
Over the last decade, much of my work has focused on time-based compositions in an investigation of alternative narratives created solely by the deliberate manipulation of otherwise extraneous content. In this new series, “Dysmorphia,” I further explore those possibilities, while representing the moving image in a purely two-dimensional form. The resulting work is comprised of a ten-panel wall-mounted installation of algorithmic prints approximately 485cm (16 feet) across.
- Dysmorphia (York 2020) Erik Austin Deerly 34:55
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- Aesthetica Art Prize Anthology: Future Now, Aesthetica Magazine Ltd, York, UK (2020): 146-147.
- Aesthetica Art Prize Exhibition 2020, York Art Gallery, York, United Kingdom (2020)
- “Aesthetica Art Prize 2020.” Aesthetica Magazine, (2020): 127-130.
- CICA Art Now 2019, CICA Press, Gimpo-si, South Korea (2019): 18-21.
- 2019 Faculty Exhibition, Indiana University Kokomo Downtown Art Gallery, Kokomo, IN (2019)
- Dysmorphia: Erik Deerly Solo Exhibition, CICA Museum, Gimpo-si, South Korea (2018)
This new multi-panel wall mounted installation appears to have a totemic and substantial presence when viewed from afar, but the intricacies of the linear bands are better appreciated in the closer shot. The narrative component of Dysmorphia is less illustrative or representational than earlier pieces, but I do intuit a progression of time and space in the compartmentalized intervals. I found it interesting that the notation states the work seeks to challenge the viewers’ sense of beauty.
While the lack of a recognizable subject may be less satisfying on one level, it is only with the expectation of such that we are confounded. One might argue that the shimmering movements and organization of saturated color stripes provide a purer, or visceral aesthetic reaction. Without identifiable subject matter the viewer is not tasked with the identification of the superfluous or inessential. While the title implies an abnormality, I find this work soothing and engaging. It taps into the primacy of the digital experience.
—Kristen T. Woodward, Resident Curator Artists2artists & Professor of Art at Albright College