'Transient State' (2023) Transient state began as more of a continuum on ' Chaos, Magic, Suicide'. It embodies both the former series 'Dissociative Identities', and 'CMS', while shifting the focus on the process, dissecting the rules, and applying the identities to digital spaces. Throughout late '22-Ongoing, my process towards building and articulating space, denoting color, and marking or editing digital sketches. Began utilizing a back and forth dialogue between the iPhones color profiles, in photo mark up. Much like a twentieth century Artist would have done so, with the apparatus 'Claude glass'. This process begins with a initial grid via tape, pencil, or freeform, to establish the perspective and continuity in canvas space. The 'Claude Glass" Iphone effect begins pretty congruently akin to the completion of the peripheral composite. Once this is established, I will take various photos of the the under-painting. Go into the edit function in the photo. Above the edit function is a mark up tool. Usually revered for notes, doodles, and such forth. My application utilizes this tool extensively. While in the 'Markup' browser, you can color match akin to photoshop tools on a basic level. But this in itself is limiting. The pixel density and color profiles are indexed and follow the algorithms limitations. These are subject to RGB, & CMYK printing values. Now, photographically these are inherently good and useful parameters to edit, but painting as the human eye knows it is inherently vibrant in almost limitless degrees of hue. Highlights, lights and dark glazing effects can be registered and shifted to incorrect values that the iPhones color wheel believes as accurate. Which is often leaving another area of the canvas to look poorly drab in color. Reduct the highlights for the sake of generally flat shading. Point being, that the mark up feature I love to use was giving me limited options. My natural eye would shift to hues in color that was not calibrate-able. So, where this brought me was adaption. I shifted my process to cater to the highly saturated and backlit nature of a phones viewing screen. As I mark up the intial underpainting on my phone, I drag the color finder over the colors and canvas, the matches it gives me are degrees off from what is actually on the canvas. So, i interpolate this. I begin doing my back and forth only utilizing the color profiles that are deemed to register in this digital space. As the process moves further it becomes more of a song and dance with photographing the various stage in the painting, marking up the image, saving this new mark up, re-painting, mixing and matching to the mark up color wheel, taking a new photo, and the cycle repeats until the painting matches both to my liking IRL and digitally. This process may seem arbitrary. But, it has its merits. One, we live in a world that most artists work is first viewable in a digital space. Thus, the digital space is the first imprint. Therefore the physical work may never be seen to most, and in my opinion the canvas itself is already decaying and less life like once the digital image is shared en mass. Since we are in-between both worlds, my process is yearning to capture this movement between spaces, URL and IRL. To interact with the digital realm as almost the epitome of endlessness, while treating my ongoing large paintings as more the artifact of the journey. They are decomposing, fragile, subject to to light and time, just like me and my physical body. -Jared Victor Oppenheim CV 2022 - ' Teddy Ragged but still here' Spring Break Art Fair 2022- "Inclusion-Book" - Exquisite Corpse by Lisa Bowman - Craig Null Gallery, LA 2022- "Group Show" - Canal Street Research, NY 2022- "Acquisition" Private Collection, Marquez Projects. Coral Gables. Miami, FL 2021 - "Office Group Show" - Bozomag, Los Angeles, CA 2020 - Kent State University - pandemic canceled 2018-2019 -"Backwards from ten" Solo show, Curated by Akeem Duncan, NY 2018 - Group Show - Lena Lower Gallery, NY 2018 - Group Show, The Painting Center Chain Reaction, NY 2018 - Group Show, curated and selected by John Yau-Blue Mountain Gallery, NY 2018- The Painting Center Juxtapositions: Juried Group Show, NY 2018- Lets Get On The Bus : Charity Auction, NY 2018- "After All... Do you Remember? Duo show with Alannah Farrell-Ghost Gallery-NY 2011-2013- Performance and installation based works. Daniel Reich Gallery, NY Jared Oppenheim (b. 1989) New York City FORMER 'Dissociative Identities' (2021) This Series portrays the artist's re-created image as six personas. These personas also reference six classical poses from the schools of The Caravaggisti and the proteges onward. The series juxtaposes the artists dualities, and hidden multi-identities with the ongoing demands of the instagram artist. Chaos Magic Suicide (2022) Question the necessity behind a commercially driven artistic practice, its effect on collector-consumerism, and the ecology of repetitive art. Inter-personal relationships, new age magic, occultism, and ruminations on a society un-hinged. Using “Pictographic-Shifters” or “shifty’s, “multi-representational forms that weave, maneuver, slither, and interact within their visual context. They are common place markers within this world and narrative. The “shifty’s” cohabitate between still and otherworldly objects to transform these reverse tableaus. Finally, arriving at an allegory that acts as a crux, foundation, or virtue signal gone fowl. |