Artist Profile: Jordan Tate


Study for New Work #151 (2012), Jordan Tate

In New Work #90 you capture the animated dotted selection lines common in Photoshop and present them as an animated image themselves. This feels like your bringing part of the interface used to make digital images into the final piece. Do you think the visuals of operating systems and software have made an aesthetic impact on digital works at large?

Absolutely, yes. I think this relates to a broader discussion of process-based or self-reflexive works that are indicative of a new modernist inquiry into technology as a medium. In many ways, this is a specific contextualization of many theories of the New Aesthetic but tied to role of process in understanding our relationships with these media, their implications, and functions.

Since 2009 you’ve framed your work as ongoing research concerning the “visual and conceptual process of image comprehension.” You’ve also done some experiments trying to produce animated GIFs as lenticular prints - taking the digital GIF into physical space. Have those experiments been successful and has that process changed your understanding of digital image processing?

They have been very successful, as well as some other processes intended to translate screen-based works to physical prints. I am currently working with Atelier Boba in Paris on a few other processes that address in some fashion the interaction with viewer and object. Our current project is an attempt to create UV triggered inkjet prints that shift over the course of small periods of time (3 weeks – 6 months) in response to their environments.

I am also in the production phase of a manual that details the experiments and process of the lenticular printing, the UV triggered inkjet, and the other various processes I am working on - that will be open-source and available soon.

Historical ...