Joseph Nechvatal at Universal
Concepts Unlimited
- by Joe Lewis, in the March 2003 issue of Art in America, pp.123-124
In the artist/theorist tradition of Robert Smithson, Joseph Nechvatal, a
pioneer in the field of digital image making, challenges our perceptions of nature
by altering conventional notions of space and time, gender, and self. His
recent exhibition, titled “vOluptuary: an algorithmic hermaphornology,” presented
six “robotically assisted” paintings on canvas; he uses organic pigments
suspended in an acrylic lacquer binder and a commercial large-format printer. In
addition, a continuous, real-time artificial-intelligence performance was
displayed on a monitor at the front desk.
Conceptually, the suite of paintings is loosely based on Ovid’s sensual musings
in the Metamorphoses about melding male and female forms to create the
Hermaphrodite. Nechvatal’s central images, usually symmetrically stacked in
transparent planes of earth tones and violet, consist of scrambled and recombined
male and female genitalia. The supersaturated environments shift between
representation and abstraction, creating unfamiliar but recognizable entities.
The images have been infected and transmogrified by computer viruses –
programmatic anomalies designed by the artist and inserted into the picture files.
The results evoke Rorschach-test symmetry and films like the Matrix. The work
explores, through the amalgamation of body parts, the relationships between the
virtual and actual, or the “viractual,” in the artist’s coinage.
In “the birth Of the viractual,” the central labia lurk beneath a
shimmering acrylic surface - as if we were looking through ripples made by
Ovid’s Salmacis diving into the pool after Hermaphroditus. Anchored by a translucent Rothko-like stripe
of plasma red, and crowned by a frieze whose dentils evoke an abstracted DNA
mitosis motif, the composition is framed by quasi-architectural elements
reminiscent of Pompeian frescos.
Nechvatal continues to blur male and female in “vOluptuary drOid décOlletage”
(the capital O, he says, represents being open, in the ready position). On top
of seething layers of fractal patterns and barely recognizable bits of
alphabetic programmatic code, anatomically recombined entities endlessly
mutate.
A static column offers a spirited homage to Barnett Newman’s “zips” and effectively
stops the works leftward movement.
In the piece on the monitor, a virus slowly erases images from
Nechvatal’s repertory. Similar to the munching action of Pac-Man, the virus
attacks colors or forms until the entire image is removed. Never repeating an
attack strategy, this seemingly thinking agent takes ten to fifteen minutes to complete
its pictorial annihilation.
It is difficult to believe that it’s been little more than a decade since
cyberspace, interactive media and the Web became robust creative areas. For artists,
the discovery of this new space has probably created more problems than
solutions; few have gotten beyond the “wow, look what I can do when I push this
button” stage. The real challenge is to create something truly fresh. Nechvatal
is one of a handful who have successfully plunged into the depths where art,
technology and theory meet.