Monitor, Color Space XXVI, 2017

Monitor, Color Space XXVI, 2017

Monitor, Color Space XXVI, 2017

MediumAcrylic on Canvas
Dimensions48 x 48 x 1.25 inches
Value$8,000
Artist Biography

Born and raised in New York City, resided in Houston Texas and is currently based in Miami Florida. In 1991, graduating with a Bachelar
of Arts, Studio Art-Cum Laude from Arizona State University, William Betts has exhibited throughout North America and Europe. His artwork has been featured in the group exhibition, Rasterfahndung (Tracing the Grid), Kunstmuseum, in Stuttgart, Germany, in the Arlington Museum
of Art, The University of Texas, The Salt Lake City Art Center, The University of Wisconsin, Eau-Claire, and the Albuquerque Museum. His selected Bibliography includes The Creators Project (video interview), June 2016; Politiken, Københagen, Photo Essay, March 28, 2016; Kinetic, Art from Polsinelli Art Collection, Privately Published 2015; Victoria Machmudov, Under övervakningsradarn, Konstperspektiv, Sweden, June, 2014 and Rasterfahndung (Tracing the Grid), Kunstmuseum Stuttgar (Show Catalog). He was named New American Painting Annual Prize winner in 2011 and featured in issues #60, #72, #84, and #96 William Betts had a career in tech industries where he established proficiency in computer language and programing. From this, he uses complex industrial processes to create paintings that reflect the possibilities for an analog medium in a digital age. Betts uses his own source material (photographs/videos) as data sets to be examined, sampled, re-contextualized, manipulated and represented. Typically less interested in content and more concerned with the structural and social aspects of the image.

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Pool Series

Pool Series

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Artist Statement

 

For years, my paintings have examined the politics and structural implications of surveillance in the digital age and how painting, photography and technology can be combined to create new visual experiences that foster this dialog. I worked with surveillance video and isolated ambiguous frames that allowed the viewer to fill out the narrative and suppose what had passed and imagine what was about to happen. These isolated images were then painted using an automated technique I developed that allowed me to further isolate the relationship between the viewer and the work.

I examine voyeurism and issues of personal privacy in an age of ubiquitous cameras and video recorders. In all of my work I have been less interested in the image itself and more interested in the relationship between the viewer and the work. For these paintings, I developed a process of drilling small 1/16″ or 1/8″ holes in the back of acrylic mirrors and fill these holes with acrylic paint to create images. The holes are rounded bottom and drilled to exactly 1/2 their diameter. When viewed on the face, the mirror reflects and makes each paint-filled hole look like a tiny suspended ball floating halfway between the viewer and the reflection. Although it is a very time consuming and complicated process that involves complex industrial processes and custom developed software, the resulting image creates a unique three-way relationship between the viewer, the image, and the viewing environment that is ideal for examining the subject of voyeurism and personal privacy.

For this body of work, I have been using images shot around beaches and swimming pools where the people gathering are typically very exposed physically and many types of personal interactions occur. The images are photographic representations of scenes we typically may catch glimpses of, watch for a moment and walk on, or possibly watch for a moment too long depending on the situation. The point-of-view is always enough of a distance that it is obvious that the viewer is not a participant but rather an observer or watcher.

As a painter and observer, I am interested in the layers of interactions; between the viewer and the image, the image and its relationship to the environment, and between the viewer and their viewing environment. In these paintings, the mirror background engages the surrounding environment and makes the reflection of the space around it. As the viewer moves around the piece, the reflections shift altering the viewing experience. Depending on the viewing angle, the viewers perception oscillates between the image, the reflection of the viewer, and the surrounding reflected environment creating a complex viewing experience that forces many of the important issues around personal privacy in this age.

Artist Biography

Born and raised in New York City, resided in Houston Texas and is currently based in Miami Florida. In 1991, graduating with a Bachelar
of Arts, Studio Art-Cum Laude from Arizona State University, William Betts has exhibited throughout North America and Europe. His artwork has been featured in the group exhibition, Rasterfahndung (Tracing the Grid), Kunstmuseum, in Stuttgart, Germany, in the Arlington Museum
of Art, The University of Texas, The Salt Lake City Art Center, The University of Wisconsin, Eau-Claire, and the Albuquerque Museum. His selected Bibliography includes The Creators Project (video interview), June 2016; Politiken, Københagen, Photo Essay, March 28, 2016; Kinetic, Art from Polsinelli Art Collection, Privately Published 2015; Victoria Machmudov, Under övervakningsradarn, Konstperspektiv, Sweden, June, 2014 and Rasterfahndung (Tracing the Grid), Kunstmuseum Stuttgar (Show Catalog). He was named New American Painting Annual Prize winner in 2011 and featured in issues #60, #72, #84, and #96 William Betts had a career in tech industries where he established proficiency in computer language and programing. From this, he uses complex industrial processes to create paintings that reflect the possibilities for an analog medium in a digital age. Betts uses his own source material (photographs/videos) as data sets to be examined, sampled, re-contextualized, manipulated and represented. Typically less interested in content and more concerned with the structural and social aspects of the image.

Pricing


Generation Series

Generation Series

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Artist Statement

 

William Betts work has always maintained a strong basis in photography although not necessarily as complete images but as sets of information that can be decontextualized and manipulated independently. His work is an investigation of the role of video and digital photography as documentation and structurally as an organized collection data. Using industrial production methods to achieve a level of precision that allows him to carefully manipulate and corrupt specific aspects of this structure to achieve my desired result. Although at first glance the abstract line paintings and the mirror images in the show have little in common, they both share a photographic legacy and production process that ties them together with all of my work.

 

Betts is making use of a complex industrial processes to create paintings reflecting the possibilities for an analog medium in a digital age. His work is typically based on photographic material mediated through technology and process. Using images as data sets to be examined, sampled, re-contextualized, manipulated and represented. Betts has always been less interested in content and more concerned with the structural and social aspects of the image. His practice is non-linear and he works on several bodies of work and techniques concurrently. They inform each other and also help clarify each other.

 

In this series, Betts is showing, three groups that he has worked on over the past several years. Although one group of paintings is representation and the other two are abstract, they share a common conceptual and technical foundation. All of the paintings on panel (line paintings) in this series are a continuation of a body of work that started in 2004 where he took single pixel row samples and extruded them to arrive at purely abstract linear images. The resulting images retain the natural rhythm of the source while removing all representative information. The paintings in this show are from a single image Betts has worked with in several forms most recently reducing it to pure black and white and extruding several samples at various points in the image.

Artist Biography

Born and raised in New York City, resided in Houston Texas and is currently based in Miami Florida. In 1991, graduating with a Bachelar
of Arts, Studio Art-Cum Laude from Arizona State University, William Betts has exhibited throughout North America and Europe. His artwork has been featured in the group exhibition, Rasterfahndung (Tracing the Grid), Kunstmuseum, in Stuttgart, Germany, in the Arlington Museum
of Art, The University of Texas, The Salt Lake City Art Center, The University of Wisconsin, Eau-Claire, and the Albuquerque Museum. His selected Bibliography includes The Creators Project (video interview), June 2016; Politiken, Københagen, Photo Essay, March 28, 2016; Kinetic, Art from Polsinelli Art Collection, Privately Published 2015; Victoria Machmudov, Under övervakningsradarn, Konstperspektiv, Sweden, June, 2014 and Rasterfahndung (Tracing the Grid), Kunstmuseum Stuttgar (Show Catalog). He was named New American Painting Annual Prize winner in 2011 and featured in issues #60, #72, #84, and #96 William Betts had a career in tech industries where he established proficiency in computer language and programing. From this, he uses complex industrial processes to create paintings that reflect the possibilities for an analog medium in a digital age. Betts uses his own source material (photographs/videos) as data sets to be examined, sampled, re-contextualized, manipulated and represented. Typically less interested in content and more concerned with the structural and social aspects of the image.

Pricing

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Color Space Series

Color Space Series

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Artist Statement

 

William Betts bold new color abstract paintings create a harmonious balance marrying freeform veils of color with the structures imposed by the technology and process. Until this series, Betts’ work has been photographically based mediated through the filters of technology and process. For these works, Betts takes a different approach, creating abstract color compositions that he then manipulates through a set of filters and tools to rationalize the composition and apply a cohesive structure to the work. By using a highly reduced color palette and ordered dithering to simulate the color nuances in the original image, Betts establishes forced constraints that embrace and highlight the technology used to realize his vision while significantly complicating the creative process. The ordered dithering used to represent the color transitions provides an interesting aesthetic mediation that is both reminiscent of a specific time in image processing and imparts a regularity that contrasts the freeform nature of the image itself. Ironically, without an image to hide mistakes and imperfections, the process requires constant monitoring and adjustment by the artist bordering on obsessive. The resulting work achieves a new aesthetic highlighting both the organic and spontaneous origins and its mechanized and controlled realization.

Betts is using complex industrial processes to create paintings that reflect the possibilities for an analog medium in a digital age. These paintings are executed in an elaborate and time consuming proprietary technique that Betts developed for applying small drops of paint with a high degree of accuracy utilizing linear motion technology and my on proprietary software he developed specifically for this purpose. Each painting has between Thirty-Six and Fifty-Eight Thousand individually applied drops of paint with each drop representing a single pixel from the source image.

Artist Biography

Born and raised in New York City, resided in Houston Texas and is currently based in Miami Florida. In 1991, graduating with a Bachelar
of Arts, Studio Art-Cum Laude from Arizona State University, William Betts has exhibited throughout North America and Europe. His artwork has been featured in the group exhibition, Rasterfahndung (Tracing the Grid), Kunstmuseum, in Stuttgart, Germany, in the Arlington Museum
of Art, The University of Texas, The Salt Lake City Art Center, The University of Wisconsin, Eau-Claire, and the Albuquerque Museum. His selected Bibliography includes The Creators Project (video interview), June 2016; Politiken, Københagen, Photo Essay, March 28, 2016; Kinetic, Art from Polsinelli Art Collection, Privately Published 2015; Victoria Machmudov, Under övervakningsradarn, Konstperspektiv, Sweden, June, 2014 and Rasterfahndung (Tracing the Grid), Kunstmuseum Stuttgar (Show Catalog). He was named New American Painting Annual Prize winner in 2011 and featured in issues #60, #72, #84, and #96 William Betts had a career in tech industries where he established proficiency in computer language and programing. From this, he uses complex industrial processes to create paintings that reflect the possibilities for an analog medium in a digital age. Betts uses his own source material (photographs/videos) as data sets to be examined, sampled, re-contextualized, manipulated and represented. Typically less interested in content and more concerned with the structural and social aspects of the image.

Pricing

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Cranes Sont Ten 10, 2017

Cranes Sont Ten 10, 2017

Cranes Sont Ten 10, 2017

MediumMixed Media on Panel and Resin
Dimensions48 x 36 x 2 inches
ValueSOLD * this style of work can be commissioned
Artist Biography

In 2010, Canadian born, California based, Verbicky absorbed multiple West Coast surf and music cultural influences into his work. His extensive experience as a DJ is also reflected in the work, resonating visually via the overlapping and intersecting visual “tracks” that he utilizes in the construction of his profoundly complex image structures. The recursive, opulent element demonstrated by the artist is illuminating in fact, reminding us of the most accurate descriptions of the Baroque sensibility: movement imported into mass; dynamic composition with exaggerated motion; clarity of abundant detail producing dramatic tension and exuberance; intense overload and a sense of overwhelmingly immersive sensual experience. Notable private collections include that of the developer of the NY World Trade Center and CEO of Aecom, (Verbicky’s large canvas ERA Series) along with the esteemed private collection of the Tisch family (founders of the Tisch School of the Arts at NYU and the Tisch Galleries at the NY Metropolitan Museum of Art) and the San Diego Museum of Fine Art, CA. In 2008, Verbicky’s work was selected for a 110 year-old juried exhibition at the Louvre, in Paris, France, by the Societie Nationale des Beaux-Arts. Other international exhibitions range from Berlin to New York, Boston, Washington D.C., Los Angeles, and San Diego. Verbicky also collaborates with philanthropic organizations by contributing his artwork. In 2017, he received a personal invitation from Robert Kennedy for the Sotheby’s art auction to benefit Kennedy’s Waterkeeper Alliance foundation for cleaner water worldwide.

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