For the Fall 2022 edition of Future Fair, we presented paintings by Ruth Freeman and sculpture by Damien Davis. Both artists embrace technology as a key tool for production and inspiration, interweaving digital processes into the core of their practice.
Damien Davis’s work questions how societies simultaneously code and decode representations of race through design and digital modes of production. His sculptures combine laser-cut plexiglass from his collection of computer-generated images. Vectors allow Davis to manipulate iconography into infinite permutations, catalyzing his assemblages and facilitating his investigation into the limits of representations in these base iconic forms.
Ruth Freeman’s work explores the relationship between chaos and order. Beginning with a detailed digital sketch, Ruth alternates between additive and subtractive layers of paint, interweaving these layers with hundreds of lines of tape in a masking process. She then allows chance to intervene, adding impromptu gestural brushwork in reaction and opposition to her previous marks. By stripping away the intricate masking interface, she creates a visually vibrating surface texture.
While Ruth’s hand is boldly asserted into the painting process by eschewing her digitally dictated sketch, Damien liberates his hand from the work by relying on software-generated vectors to bring his work to fruition.
- Ruth FreemanBrooklyn, NYArtist Page
Ruth Freeman (b. 1969) is a New York-based painter whose work explores the relationship between chaos and order. Beginning with a detailed digital mockup, Ruth alternates between additive and subtractive layers of paint, mirroring her computer based sketch. Once these initial layers are complete, Ruth allows chance to intervene as she adds impromptu gestural brushwork in reaction and opposition to her previous marks.
- Damien DavisBrooklyn, NYArtist Page
Damien Davis (b. 1984) is a Brooklyn-based artist. His practice explores historical representations of blackness by seeking to unpack the visual language of various cultures and question how these societies code and decode representations of race through design and digital modes of production. Working primarily in laser-cut acrylic, Damien draws on his vast store of Black iconography to configure three-dimensional kinetic collages that invite viewer participation.