THE ATLANTIC: "From Paint to Pixels"
We are so pleased for gallery artist, Laurie Frick, on her inclusion in this in-depth look at the expanding role of technology in art, written by Jacoba Urist.
Urist begins, "A growing number of artists are using data from self-tracking apps in their pieces, showing that creative work is as much a product of its technology as of its time."
On Frick, Urist explains "Frick believes that while numbers are abstract and unapproachable, human beings respond intuitively—and emotionally—to patterns. Unlike many of her peers, Frick has no assistants. She uses self-tracking data to construct objects and large-scale installations, including one called Floating Data that’s about two stories tall and made from 60 anodized aluminum panels that represent her walking patterns. Frick used her own records, gathering steps on her Fitbit and combining it with location data from the online program OpenPaths and her iPhone’s GPS."
“I drew a little track that tries to capture the experience of walking speed, and the feel of walking through a busy neighborhood near my apartment in Brooklyn,” she explained.
"In a series called Moodjam, Frick took thousands of Italian laminate countertop samples from a recycling center and created a series of canvases and billboard-sized murals based on her temperament. For weeks, she manually tracked her feelings, using the online diary Moodjam, which allows users to express their emotions in color patterns. The smaller Moodjam pieces capture only a day’s worth of data, Frick’s ups and downs over a 24-hour period. Larger ones reflect weeks of journal keeping and internal swings. For her upcoming solo exhibition this May, at New York’s Pavel Zoubok Gallery, Frick has made wood, leather, and paper assemblages based on accounts of her daily activities. In several pieces, she used apps like ManicTime on her laptop and Moment on her iPhone to track each click and touch of her screen for almost a month. Frick is adamant that her work is about more than simply visualizing information—that it serves as a metaphor for human experience, and thus belongs firmly in the art world."
You can read the full article in The Atlantic here. This article was published in The Atlantic online on May 14, 2015.