Sean Ripple
Since 2009
Works in Austin United States of America

Repetition and Recontextualization

Replication and Variation

Limitation and Exploration

Impulse and Revision

The daily made versus the grand expression…

My work often begins from a point of derivation or mimicry and is not limited to a specific medium. From my awkward line and shoddy paint application to my practice of realizing quick little videos that I can upload and be done with in no more than 30 minutes (get in line right?), I find that I’m constantly looking to create something other than what I am creating. This impatience with realization, which is reinforced by formal failure and half-heartedly glossed over with adopted stylization from contemporary sources, allows for impulsively derived variation and is an expression of indecisiveness and inadequacy in a world of ever-increasing choice and technological proficiency.

I feel that my work is closely related to folk art… the kind of art Grandma Moses might make if she used a computer and had an interest in the conceptual.
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On the Natural History of Surveillance

Thanks for the post... really enjoyed it. Might you be able to clarify the following two paragraphs for me?

"The ideal of truth inherent in its entirely unpretentious objectivity, at least over long passages, proves itself the only legitimate reason for continuing to produce literature in the face of total destruction. Conversely, the construction of aesthetic or pseudo-aesthetic effects from the ruins of an annihilated world is a process depriving literature of its right to exist.

Truth, objectivity, and legitimacy are dead letters in an age of ubiquitous surveillance. Authenticity has, through irony and atemporality, become no more than a sigil of itself, another hollow tower built on the reality of wreckage. But there is still fact. We can create a terrain of facts on which to base our actions in the world, rather than only playing with interpretive metaphor, or the architectural models of speculative."


Artificial Scarcity

Fri Dec 04, 2009 00:00 - Mon Nov 09, 2009

United States of America

With the advent of digital cameras and associated mainstream online forums such as flickr and youtube, the modernist impulse to create art for art’s sake has given way to a sort of user-generated white noise, where one’s ability to stream content without restraint merges with another’s unrestrained need to stream content, leaving little room for individual distinction. Like names in a phone book that point to an ocean of individuals who have little relevancy in one’s day to day life, streaming art for an online public tends to exist with little context and as result, flounders in a kind of atomized digital anonymity.

Artificial Scarcity is Ripple’s attempt to rescue three years worth of art photography from the digital abyss by pulling a publicity stunt of sorts, highlighting the role that the audience/institution/collector plays in determining the worth of artistic output.

Ripple will exhibit an installation that includes a documentary video of a process-oriented work where he distributes 5×7 prints of all the images from his flickr stream throughout Austin, San Antonio, Houston, Berlin, Los Angeles, and New York and moves all the digital copies of the photos onto disc, puts the discs into a padded mailer, deletes the image files from his flickr account and his hard drive, tosses the padded envelope from the window of a moving car and sets back out to find the padded envelope that contains the discs the last weekend in November.

If the discs are found, you better believe they’re for sale. If they’re not found, the 5×7 prints and a few blog site copies of the images will be all that remain of the work.

Artist’s Reception(s):

Friday, December 4th, 2009 7:00-9:00 PM @ Stella Haus - San Antonio

Saturday, December 12th, 2009 6:00-8:00 PM @ Apama Mackey - Houston

Sunday, December 13th, 2009 6:00 PM-8:00 PM @ Co-Lab - Austin