tag: Imperica

Imperica recently released the first issue of its digital magazine. I’m happy to have contributed an article called Copyright, Culture, and Creativity. The article focuses on how large commercial corporations appropriate and exploit internet cultures and aesthetics.

Beginning to understand copyright on even a basic level can be a career in itself and take years of study. Just as no users of technology read the terms of service, no artist spends their time studying the Statute of Anne in order to understand Copyright. And why should they? We’re in the business of creating art, not law.

Stealth launched at Vivid Projects on 25th June and it was a great success! It’s the first time I have curated an exhibition or event that has lasted more than a few days, so I’m happy to see that there have been a steady flow of visitors.

Directly after f(Glitch) I’ll be in London to take part in the New Horizons event from Imperica on 7th March, 09:00-18:00.

New Horizons brings a variety of people, disciplines, and interests together in one provocative, thought-provoking, enormously creative, and fun day. This will not be a day of death by PowerPoint. You’ll leave the day with new ideas, new visions, and new friends.

This event is ideal for professionals, academics and enthusiasts of film; advertising; design; digital technologies and their impact; art; and media.

Imperica were the very first magazine/publication to interview me all the way back in 2011 for GLI.TC/H Birmingham. Since then the magazine is still going strong and they’ve recently launched an online shop where you can buy books, clothes(?) and other stuff. To celebrate this new venture I was asked to make some art!

I was interviewed by Imperica recently about GLI.TC/H coming to Birmingham.

For the viewer, appreciating Glitch art inevitably depends on the form that the work takes, and an understanding of the work not being “broken” but a new construction in itself. Glitched artwork “… can be beautiful, but it can also be chaotically noisy. It isn’t just an hour of TV static or hard noise. They have a narrative; they tell a story in some way. I want the viewer to see the value in things that are corrupted, bent, and broken.”