YINJAA BARNI
SAM DOCTOR
JOHN A DOUGLAS
EMMA FINNERAN
NATHAN HAWKES
ANDRE HEMER
HARLEY IVES
JAMES KERR
JASPER KNIGHT
ADDISON MARSHALL
TARA MARYNOWSKY
MATHEW MCWILLIAMS
KATE MITCHELL
JAMES ORAM
ALEXANDRA STANDEN
OLIVER WATTS
MARK WHALEN
TRENT WHITEHEAD
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Painting in its simplest form, captures the aesthetic collateral from each moment in time- acting as a marker and visual record of a particular period, context, and culture. In this sense digital technology now acts as both a tool to make this encounter, and also as a subject of the culture itself. Hemer's work combines the visual detritus of contemporary visual culture with the conventions of painting; landscapes of Photoshop gradations, blurred digital images, vector scrawls, graffiti process, rudimentary 3-D renderings, and computer drawn elements, are entangled with raw canvas, stretchers and paint.

Hemer creates painting and installations from these soon-to-be discarded parts, touching on the contemporary psyche of aesthetic disposability. It is an attempt at creating meaning through the process of sampling this digital visual diaspora- seeking to locate the conceptual distance between the digital glitch, sampling, and the ambiguity of translation, transformation, and transactions between digital media; and to capture or contain an unseen persuasiveness in the form of painting.

Hemer approaches painting as an act of finding something new in the act of undoing. As if painting in reverse, his works seem to work backwards to a starting point, or a state of pause. Hemer's paintings and installations reveal fragments of different surfaces, materials, and image. The act of erasure is always present, most explicitly when raw canvas interrupts the gestures upon gestures that layer upon each other. This 'unpainting' gives reference to digital translation; "For Hemer, the ability to erase or undo, to translate the data of the erasure, or any other gesture for that matter, and impose it as another layer on the original is a digital process that he embeds in the physical reality of paint and architecture."


-Andrew Clifford: From the essay 'Andre Hemer: Rearranging the deck chairs'