“ The supposedly spied-on subjects in question stem from Louise Sartor's 'Out and About:' a series of paintings depicting lone girls clad to the nines, sauntering through metropolitan landscapes. Faces always obscured behind veils of well-coiffed hair, they abide by what Sam Fussell puts forth in his text Bodybuilder Americanus: "fascism is sexy, because it renders the individual faceless.' Fussell focuses on muscles, like uniforms, leather and Levi's, to get at an anonymity found in a figure reduced to its 'double D's': discipline and determination. ”
Extract from DOUBLE D, by Sabrina Tarasoff (Paris, 18è prix Fondation d'entreprise Ricard)
“ Renaud Jerez has taken his biomorphic-cyborg-skeletons to their logical conclusion: he has given them a small world of their own. His dimly lit intervention at the Institute of Contemporary Art, Miami, feels strange and timeless. (...) We enter the room not as viewers but as visitors to a staged environment, a city street set in either the past or the future — or arguably both. Influenced heavily by cyberpunk, steampunk and a self-professed love of Japanese animation and manga, Jerez's forms have always referenced a potential future, a singularity in which bodies have become not only connected to their technological apparatuses but also merged with them. ”
Extract from Renaud Jerez, ICA, by Monica Uszerowicz (FlashArt)
Jason Matthew Lee's work can be seen as a push and pull between the physical and the digital, with and against technology. He sees painting essentially as compression of ideas. "I try to compress a large amount of information in each work to the effect that the information becomes an abstraction. The same goes with the layering in the videos. I want to find a place for humanity and error in this post digital art making landscape. I try to illustrate this with the flaws and raw physicality of the paintings.