Tag: digital art

Layer Cake, 2024

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Layer Cake (San Miguel, Valmontone, & Cereal Aisle), 2024
Inkjet prints
24″ × 95″ each

Exhibited in Layer Cake, a group exhibition with Jonathan Paul Jackson and Xochi Solis at the University Gallery, Sam Houston State University, Huntsville, Texas.

Each panorama in Layer Cake was shot on an iPhone from a moving vehicle: a train, a car, or a shopping cart. Panorama mode expects a slow, steady sweep, so the motion breaks each scene into stretched, repeated, and misaligned slices full of digital glitches and distortion.

In the gallery, the prints hang alongside spools of tiny square stickers in red, green, blue, black, and white. Each sticker is a pixel. Visitors are invited to patch and repair the glitches, but every repair adds to the abstraction, turning the camera’s errors into a shared composition.

Each person becomes a pixel, and the image reaches its best resolution only when everyone takes part.

Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown
Layer Cake, 2024 — artwork by artist Bradly Brown

Dopamine, 2020

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Dopamine, 2020
Single-channel video
(4:20)

Dopamine was made shortly after the COVID-19 pandemic began, for Episode 3: DRUGS of Culture Hole TV (CHTV), the experimental art television project created by artists Jeff Gibbons and Gregory Ruppe. Culture Hole began as an underground room for sharing alternative art and, when the pandemic closed physical spaces, moved to online broadcasts organized as themed episodes.

Rather than depicting drugs directly, Brown turned to the brain’s own reward system. Shot almost entirely on his cell phone, the video gathers brief moments that give a small hit of joy, an immediate and involuntary sense of pleasure. Some are beautiful; others are funny, strange, or simply satisfying. The soundtrack is made only of each clip’s original ambient sound, keeping the moments as unpolished and immediate.

Together, these fragments hold onto the feeling of noticing something special just before it disappears. Made during a period of isolation and uncertainty, the work became a reminder for Brown that even in frightening times, little things could still feel magical.

Three Trees, 2012

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Three Trees, 2012
Unique digital prints
13″ x 17″

In Three Trees, the computer monitor becomes a camera lucida. Working from photographs, Brown redraws each tree by hand on screen, identifying every leaf while staying true to the original image.

The finished digital drawings are printed onto torn sketchbook paper. The ragged edges make each print a unique object, yet the image itself is infinitely reproducible. Like the cliché verre, the 19th-century process of printing hand-drawn glass plates on photographic paper, the work asks how an art object is valued: what is a physical print worth compared to the digital information that defines it?

The series is part of Brown’s ongoing fusion of drawing and painting with photography, a body of digitally crafted work that reevaluates tools and techniques from photographic history.

Three Trees, 2012 — artwork by artist Bradly Brown
Three Trees, 2012 — artwork by artist Bradly Brown
Three Trees, 2012 — artwork by artist Bradly Brown