opening: 28.4. 2016 7 – 9 pm
introduction by Laura Bardier, curator
Richard Garet’s (1972 born in Montevideo, Uruguay / lives and works in New York, USA) artistic approach is characterized by an interdisciplinary interweaving of various media such as sound, moving image, expanded photography and multimedia performance. By activating sensorial, physical and psychological stimuli, his works draw the observer’s attention to the processes of perception and time.
Garet’s work was featured in the first sound art exhibition by the Museum of Modern Art of New York, MoMA; soundings: a contemporary score in 2013, with Garet being selected to join the show as one of the sixteen most innovative artists working with sound as a medium today. Recognizing his work solely in the genre of sound art however will certainly not satisfy to describe his oeuvre on the whole.
In screen memory, his very first solo show at galerie burster – and his first solo show in Europe – Garet’s selected body of work extracts his interest in experimenting with mixing media and material, shifting borders back and forth within various media and beyond, hovering between digital and analogue – in order to create an aesthetic, sonic, above all immersive perceptual experience.
With installative choreographies such as seen in untitled series painting semiotics or with digital-print series such as activated void, Garet refers to his background in visual art – he studied painting in New York in the nineties – but remaining true to his artistic approach he consequently transfers his pictorial experience into a digital context: The layering buildup and the relationship to malleability and materiality find themselves now translated into various ‘new’ media such as sound, video art and installation to name a few.
Another impressive proof for his interdisciplinary implementation can be found in perceptual series, where Garet uses sound as a tool to generate a visualization of a sonic construction. He then removes the audio, leaving just the moving image signal creating an experience of sound through vision that would change and pulsate according to the properties of the sonic composite. The viewer is gravitated to lavish landscapes of continually reconfigured color and mood, reminding of Rothko’s significant paintings being translated to digital animation. This lush and luminescent series has been shown at Times Square New York as part of midnight moment event series in June 2015.
As an artist being capable of using such an extensive variety of media, ranging between analogue to digital, sound to visualization and finally materiality to immateriality, one could easily get lost in all these options and opportunities to use as means of expressions. Garet however uses this spectrum virtuously and with a playful easiness, consequentially developing his own significant artistic language, guiding the viewer’s perception to entirely new fields of interdisciplinary contemporary art.