joseph nechvatal
Universal Concepts
Unlimited
New York
Joseph Nechvatal is a digital artist who
works with painting. More
precisely, he works with acrylic-jet
paintings that are based on a dense
overlay of imagery that have been
programmed for the computer. His recent
exhibition of paintings, titled
"vOluptuary: an algorithic hermaphornology,"
is composed from erotic sources that
suggest an intense palimpsest of
libidinal energy. As Nechvatal describes
in an accompanying essay, he is
concerned with subverting the limits of
gender representation through "the
mutable image and performance of
pan-sexuality."
In fact, Nechvatal was one of the first
artists to work with computers in
relation to painting. As early as 1986, he
pursued the notion that the
physical act of painting was less
important than the imagery that informed
the results. By the early nineties, he was
spending more time in France than
in New York. During these forays, he
divided his time between computer
research at the Foundation Claude-Nicholas
Ledoux and frequent visits to the
Louvre where he studied the great
paintings of Poussin, David, Ingres,
Gericault and Delacroix. He eventually met the late French philosopher
Gilles Deleuze who had a profound impact
on Nectvatal’s thinking. This
occurred during the time that Nechvatal
was finishing a doctoral program at
the University of Wales, where he produced
a thesis largely inspired by
Deleuze.
While Nechvatal’s cyber-erotic vocabulary
may defer the attention of some
observers, "vOluptuary: an algorithic
hermaphornology" is a pleasure to
behold.
It exceeds the limits of puritanical art -- the kind of predestined
art that is so rampant in the marketplace
-- and carries us into the future,
beyond the vestiges of solipsism and
despair. Nechvatal has given us a
sequence of pixilated paintings, filled
with electronic color,
cyber-effects, and a subtle distillation
of sexual energy. They are works
that provoke thought and emotion on the
level of "a chameleon-like sexual
demeanor ... built from the virtual
abyss." They propose a quiet delirium --
fraught with orgasmic punctuation -- as
sure-fire in their intensity as any
painting today that hovers between abstraction
and representation.
Robert C. Morgan
in Tema Celeste Magazine #93 (page 94)
Fall 2002