Each week, we will highlight the participants in Digital Graffiti 2017. Join us and learn about these incredible artists from all over the world and what informs their artwork. This week, we’ve got Q&As with Kameron Neal and Beau Stanton, both from Brooklyn, NY.

Artist: Kameron Neal
Location: Brooklyn, NY
Project title: “Liquid Love”
Website: kameronneal.com

How much technology is required to create your work? If you didn’t have it, how would you produce it?
This piece was created using a DSLR camera, MacBook Pro, Adobe Premiere, and Adobe After Effects software. I recorded video of myself performing the same gesture repeatedly in different settings in Brooklyn, NY. From those videos, I exported still frames that were manually sequenced together to realize the gesture in full with stop motion. The piece is inherently performative, so the use of technology allows my body, my actions, and my ideas to exist in spaces that I physically cannot. Without technology, I can still create this work, but it would only be experienced in real time by a handful of people.

 What else can you tell us about your work, for example, your use of color (or lack of), rhythm or visual texture?
“Liquid Love” is an exploration of self-love through ritual and gesture. While performing the piece, each iteration of the gesture forced me to confront the complicated dichotomy of loving and embracing myself in a world that continually devalues bodies like mine.

What do you find most remarkable about projected art?
I am enamored by way projected art can simultaneously take on the characteristics of a space and transport the viewer into a new realm of reality.

How do you see expanding your use of projection for your art?
I’m currently expanding my use of projection art by collaborating on a theater piece that manipulates time through movement, projections, technology, and active engagement with the audience.

 

Artist: Beau Stanton
Location: Brooklyn, NY
Project title: “Submariner”
Website: beaustanton.com

How much technology is required to create your work? If you didn’t have it, how would you produce it?
This particularanimation was created by dissecting and digitizing my traditional oil paintings before layering the components into Photoshop and After Effects.

What else can you tell us about your work, for example your use of color (or lack of), rhythm or visual texture?
All of my digital work is heavily informed by my traditional paintings which maintain an aesthetic that balances antiquated and modern, gritty textures next to vivid contrasting colors, often depicting cryptic, iconic or archetypal images.

What do you find most remarkable about projected art?
The ability to play with scale as well as placement in unexpected places makes projected art a particularly exciting medium for me.

How do you see expanding your use of projection for your art?
I would like to move forward with some projection mapped work that could become more site specific based on the unique architecture of the location.