"Pigment Migrations & Suspended Refraction"
I believe we live in a moment when the torrent of the digital and the
inertia of the analog collide with each other creating an aesthetic
and a lived experience unique to our time. It is my hope that the
works here look and feel of this moment.This collision is the subject
of the works presented. The works create tensions between material
and immaterial, real and virtual, analog and digital, pigments and
pixels, that can be seen as an allegorical device through which to
look at our present state.
These works specifically consider the aesthetics and conditions of
production representative/symptomatic of our time where pigments and
pixels push and pull at each other. They strive to evoke what is
immediately unrepresentable today, only felt in its
effects. Specifically, the effects of mechanics such as optics that
underlie photography but also of algorithms, systems, applications,
software, and networks refracting data, pigments, and pixels that are
ultimately felt through our bodies and rendered into sensation.
Photography is a curious medium to explore something so intangible. It
insists on its relationship to the real. This indexicality of the
photograph is precisely why I think it is a potent medium with which
to explore what is only yet felt, while not literalizing the
present. The things that slip out of the concrete and escape
indexicality allow us to consider the potential beyond the real. In
the works presented, I allow this potential to fold into formal
abstraction and photographic representation. The works here aim to
create a felt experience not only of the surfaces and the vehicles of
the felt experience unique to our time (such as web browsers, images
with 8-bit aesthetics, or visualization of 3D virtual worlds) but also
of the processes and structures unfolding underneath.
Some of the works are straight documents (photographs) of setups in
the studio using mirrors and tape
[CMYKRGB series] or
performative actions undertaken in the studio [Process
#5 where I pop strobe lights while I walk back and forth in front of the
camera wearing an orange shirt]. Some are photographs of paint, paint
medium, or paper and are manipulated with a simple digital gesture
such as offsetting the color channel [Process
while others can be considered a collaboration with the digital
algorithms which is no longer a mere simple tool but one that has its
own ideas about object ontology (for example, the content-aware algorithm in Photoshop) [Process
Structures #2, #3, #4, #6, #7].
Akihiko Miyoshi's works explores the intersection between art and technology most frequently dealing with issues surrounding representation. His work has been exhibited widely including Portland, New York, Los Angeles, Rochester, Pittsburgh, and Toronto. He was named the International Award Winner of Fellowship 12 at The Silver Eye Center for Photography in Pittsburgh PA, and the finalist for the Betty Bowen Award from the Seattle Art Museum in 2012 and Aperture Portfolio Prize in 2013. Miyoshi received a Hallie Ford Fellowship in 2012. Born in Japan, Akihiko Miyoshi received a MFA in photography in 2005 from the Rochester Institute of Technology after taking a leave of absence as a PhD student in computer engineering at Carnegie Mellon University to pursue art. Miyoshi is an Associate Professor of photography and digital media at Reed College in Portland OR.