Bigindicator

Garrett Pruter

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Screensaver 5, 2014 Photographic Emulsion on Canvas 40" X 30"
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Screensaver 4, 2014 Photographic Emulsion on Canvas 40" X 30"
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Screensaver 1 Photographic Emulsion and Holographic Paper on Wood Panel 60" X 48"
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Screensaver 3, 2014 Photographic Emulsion and Acrylic Medium on Canvas 40" X 30"
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Untitled 34, 2014 Photographic Emulsion and Acrylic Paint on Canvas 40" X 30"
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Untitled 25, 2014 Photographic Emulsion and Acrylic Paint on Canvas 72" X 60"
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Untitled 29, 2014 Photographic Emulsion and Acrylic Paint on Canvas 48" X 36"
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Untitled 26, 2014 Photographic Emulsion and Acrylic Paint on Canvas 48" X 36"
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Untitled 27, 2014 Photographic Emulsion and Acrylic Paint on Canvas 48" X 36"
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Untitled 31, 2014 Photographic Emulsion and Acrylic Paint on Canvas 36" X 22"
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Untitled 33, 2014 Photographic Emulsion and Acrylic Pain on Canvas 60" X 36"
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Untitled 32, 2014 Photographic Emulsion, Acrylic Paint and Phosphorescent Paint on Canvas 38" X 24"
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Untitled 35, 2014 Photographic Emulsion and Acrylic Paint on Canvas 20" X 16"
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Untitled 30, 2014 Photographic Emulsion and Acrylic Paint on Canvas 20" X 16"
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Untitled, 2014 Photographic Emulsion and Acrylic Medium on Canvas 60" X 48"
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Untitled, 2013 Photographic Emulsion, Aluminum, and Acrylic Medium on Canvas 48" 48"
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Untitled, 2013 Photographic Emulsion and Acrylic Medium on Canvas 60" X 48"
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Untitled, 2013 Photographic Emulsion and Acrylic Medium on Canvas 60" X 48"
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Untitled, 2013 Photographic Emulsion, Turpenoid, and Linseed Oil on Canvas 60" X 36"
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Untitled, 2013 Photographic Emulsion, Turpenoid and Linseed Oil on Canvas 40" X 30"
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Untitled, 2013 Photographic Emulsion, Turpenoid and Linseed Oil on Canvas 72" X 60"
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Untitled, 2013 Photographic Emulsion, Turpenoid and Linseed Oil on Canvas 40" X 30"
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Untitled, 2013 Photographic Emulsion, Turpenoid, Aluminum and Linseed Oil on Canvas 40" X 30"
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Untitled, 2013 Photographic Emulsion, Turpenoid and Linseed Oil on Canvas 40" X 30"
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Untitled, 2013 Photographic Emulsion, Turpenoid and Linseed Oil on Canvas 40" X 30"
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Untitled, 2013 Photographic Emulsion, Turpenoid and Linseed Oil on Canvas 60" X 48"
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Still Life 1, 2013 Bleach and Wax on Digital C-print 30" X 40"
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Still Life 2, 2013 Bleach and Wax on Inkjet Print 30" X 40"
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Exterior 1, 2013 Bleach and Wax on Inkjet Print 30" X 40"
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Exterior 2, 2013 Bleach and Wax on Inkjet Print 30" X 40"
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Still Life 3, 2013 Bleach and Wax on Inkjet Print 30" X 40"
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Still Life 4, 2013 Bleach and Wax on Inkjet Print 30" X 40"
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Still Life 5, 2013 Bleach and Wax on Inkjet Print 30" X 40"
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Interior 1, 2013 Collage 20" X 30"
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Interior 2, 2013 Collage 30" X 40"
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Cat (bouquet) Collage 18 X 24 in © Courtesy of the artist & Charles Bank Gallery
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Interior 3, 2013 Collage 30" X 20"
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Interior 4, 2013 Collage 30" X 40"
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Interiors (Installation shot), 2013 35mm Slide Projectors, Digital Projector, 35mm Slides and Mylar Dimensions Variable
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Interiors (Installation Shot), 2013 35mm Slide Projectors, Digital Projector, 35mm Slides and Mylar Dimensions Variable
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Interiors (Installation shot), 2013 35mm Slide Projectors, Digital Projector, 35mm Slides and Mylar Dimenions Variable
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Untitled (Still Life), 2013 Graphite on Paper 40" X 30"
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Untitled (Family), 2012 Graphite on Paper 40"x 30"
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Untitled (Kids), 2012 Graphite on Paper 40" X 30"
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Mixed Signals, 2012 Digital C-print and Found Travel Poster 40" X 30"
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:) , 2012 Digital C-print and Travel Poster 40" X 30"
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Time & Place, 2012 80 Found 35mm Slides Projected Into Curved Glass Tiles Dimensions Varible
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Time & Place (Detail), 2012 80 Found 35mm Slides Projected Into Curved Glass Tiles Dimensions Variable
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Time & Place (Detail), 2012 80 Found 35mm Slides Projected Into Curved Glass Tiles Dimensions Variable
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Shadow, 2012 Photographs of Shadows on Paper 40" X 30"
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Sunset, 2012 Photographs of Sunsets on Paper 40" X 30"
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Flesh, 2012 Cut Up Playboy Magazines on Paper 40" X 30"
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June Gloom 1, 2012 Scratched Digital C-print 40" X 30"
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June Gloom 2, 2012 Scratched Digital C-print 40" X 60"
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Trash Island, 2015 Photographic Emulsion, Bleach, Spray Adhesive, and Acrylic Paint on Canvas 60 X 48 in
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Quick Facts
Birthplace
Ventura, CA
Birth year
1987
Lives in
Brooklyn, NY
Works in
Brooklyn, NY
Schools
Parsons School of Design
Statement

My work is an exploration of nostalgia, entropy, and mnemonic frailty. I source vernacular photographs and 35mm slides from junk stores, eBay, novelty shops, and the internet, documenting the patterns and oddities that emerge after viewing these discarded images in large quantities.  In an era of quickly shifting image-making technologies, it seems relevant to consider the effects that the transition between analogue and digital might have on the way that we process and maintain information and memories. 

Through the archival of discarded snapshot photographs from around the world, certain small truths and pleasures of human nature become apparent. For example, from nearly all sources, some of the most common subjects are cats, floral arrangements, vacations, birthdays, and sunsets. These are themes that are banal in nature, but worth examining for that very reason. These are not the photographs that end up framed on mantles or preserved for any length of time. They are nearly automatic in their raw, unconsidered depiction of everyday life.  

The photographs are deconstructed using various subtractive techniques that blur the line between fact and fiction, giving new life to moments on the verge of obsolescence. The physical anatomy of these photographs are dissected, layers peeled back and washed away to reveal their underlying structure -- evidence of their own mortality and manufactured reality. The work questions the representational authority of photography, images that we tend to immediately accept as fact, even allowing our own memories to intertwine with. 

I am interested in the multiple generations that a single image goes through. From a photograph's conception through the lens of a camera to its development in a lab, to printing, scanning, enlarging, and re-printing, the passage of time and process gradually leaves its mark.  Flaws like dust, scratches, folds, tears and discoloration become embraced as compositional devices, owing a great deal to the aesthetics of chance.  The images seem to have a life analogous to our own memories -- through time, a certain haziness creeps in, obscuring and streamlining experiences into ambiguity and abstraction. 

Because these images often outlive their owners, they tend to exist in excess and without purpose. Once the context is removed, they lose any personal value and narratives that they once had. My work extends the life of these dying cultural artifacts through experimental methods of cataloguing, archiving, and photographic abstraction. The work blurs the line between photography and painting, equal parts representation and abstraction.