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Title: Memory Beach Part #2 Artist: Ashley Anderson Medium: Giclee Print Size: 8” x 8” Part of the “War Games” art show inspired by video games. Memory Beach is a story told in three pictures. Each of the pieces are a mash up of images from Ao no Senritsu for the Famicom, Goonies, Sim City, Family Composer for the Famicom, Kame no Ongaeshi - Urashima Densetsu, Grand Prix II - 3D, Street Fighter 2 and Kazekiri. Ashley Anderson’s use of pixel and raster imagery centers on the economy of representation springing from an economy of technology and its relationship with painting. The economy of technology in early computer imaging, long gone in terms of its active use, is an ancestor to and analogy of our current image-driven digital age, where truth is hard to spot and often seems lost. Idealism and perversion transform the original into something filtered and mutated, purer in its form but less clear. Similarly when the visual understanding breaks down to an hyperconcentrated facsimile, things strangely become less intelligible. All that remains are form and color, but a reference to the original remains.

Title: Memory Beach Part #2 
Artist: Ashley Anderson 
Medium: Giclee Print 
Size: 8” x 8”

Part of the “War Games” art show inspired by video games.

Memory Beach is a story told in three pictures. Each of the pieces are a mash up of images from Ao no Senritsu for the Famicom, Goonies, Sim City, Family Composer for the Famicom, Kame no Ongaeshi - Urashima Densetsu, Grand Prix II - 3D, Street Fighter 2 and Kazekiri.

Ashley Anderson’s use of pixel and raster imagery centers on the economy of representation springing from an economy of technology and its relationship with painting. The economy of technology in early computer imaging, long gone in terms of its active use, is an ancestor to and analogy of our current image-driven digital age, where truth is hard to spot and often seems lost. Idealism and perversion transform the original into something filtered and mutated, purer in its form but less clear. Similarly when the visual understanding breaks down to an hyperconcentrated facsimile, things strangely become less intelligible. All that remains are form and color, but a reference to the original remains.

Title: 10048 (Floating Island) Artist: Ashley Anderson Medium: Gel Transfer on Panel Size: 8” x 8” Part of the “War Games” show based on video games. This image is a collage of images pulled from the intro/title sequence of Teenage Mutant Ninja Turtles 3: The Manhattan Project for the NES. Ashley Anderson’s use of pixel and raster imagery centers on the economy of representation springing from an economy of technology and its relationship with painting. The economy of technology in early computer imaging, long gone in terms of its active use, is an ancestor to and analogy of our current image-driven digital age, where truth is hard to spot and often seems lost. Idealism and perversion transform the original into something filtered and mutated, purer in its form but less clear. Similarly when the visual understanding breaks down to an hyperconcentrated facsimile, things strangely become less intelligible. All that remains are form and color, but a reference to the original remains.

Title: 10048 (Floating Island) 
Artist: Ashley Anderson 
Medium: Gel Transfer on Panel 
Size: 8” x 8”

Part of the “War Games” show based on video games. This image is a collage of images pulled from the intro/title sequence of Teenage Mutant Ninja Turtles 3: The Manhattan Project for the NES.

Ashley Anderson’s use of pixel and raster imagery centers on the economy of representation springing from an economy of technology and its relationship with painting. The economy of technology in early computer imaging, long gone in terms of its active use, is an ancestor to and analogy of our current image-driven digital age, where truth is hard to spot and often seems lost. Idealism and perversion transform the original into something filtered and mutated, purer in its form but less clear. Similarly when the visual understanding breaks down to an hyperconcentrated facsimile, things strangely become less intelligible. All that remains are form and color, but a reference to the original remains.

CLICK ANYWHERE ON THE IMAGE TO BE CONNECTED TO THE FACEBOOK EVENT PAGE. The year of action rolls on, each show named after an action movie, with “War Games”.  The show is named after the movie featuring Matthew Broderick nearly causing a nuclear war with a computer game, which he stops by playing tic tac toe (the 80’s were so much simpler).   This show features VIDEO GAMES!  Yes, all your favorite artists bring life to 8 bit characters and landscapes.  And, SALT AND STRAW ICE CREAM will be on hand spooning out frozen happiness.   Don’t miss your chance to see Jude Buffum, Christopher Rowson, Ashley Anderson, John Padlo, Brian Butler and Andrew Constantine   

CLICK ANYWHERE ON THE IMAGE TO BE CONNECTED TO THE FACEBOOK EVENT PAGE.

The year of action rolls on, each show named after an action movie, with “War Games”.  The show is named after the movie featuring Matthew Broderick nearly causing a nuclear war with a computer game, which he stops by playing tic tac toe (the 80’s were so much simpler).  

This show features VIDEO GAMES!  Yes, all your favorite artists bring life to 8 bit characters and landscapes.  And, SALT AND STRAW ICE CREAM will be on hand spooning out frozen happiness.  

Don’t miss your chance to see Jude Buffum, Christopher Rowson, Ashley Anderson, John Padlo, Brian Butler and Andrew Constantine   

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