DAVID M GYSCEK
The process of creating the paintings & photographs in Electric is firmly rooted in an interest in, connection with, and reliance on domestic technologies.
For a long time, I could not imagine being a painter. Not only do I have no formal technical training in this very complicated medium (in terms of its history and the practice of it), but also it seemed as though there would be nothing that one could paint that would not be derivative. It seemed as though the medium had exhausted itself. Then one evening, sitting at home, listening to music on my computer and watching the iTunes visualizations, I realized that if these moving images could stop, they would make beautiful and compelling paintings. And with that I started taking photographs of the computer screen, printing those photographs and reproducing them. As I have made more and more of these paintings, I have become less tied to the source material and have allowed myself a certain freedom to explore and interpret.
The paintings are scaled to a domestic setting and this can been seen clearly in the illuminated photographs, which depict scenes of domestic life, fetishized. These images are essentially self-portraits by proxy – an eroticized version of my home life with a model stand-in. The setting for the photographs is my home and the activities that take place therein, whether baking, butchering a chicken, reading, or mopping the floor. The photographs are scaled beyond the expected size for display in the average home. Meanwhile, they reference lifestyle magazine spreads and the illumination of them references subway advertisements and billboards. And so the private become public and very personal, intimate activities become commodity.