Bigindicator

Adam Hinterlang

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Mecon_01
Mecon 1, 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Mecon_02
Mecon 2, 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Mecon_03
Mecon 3, 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Mecon_04
Mecon 4, 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Extrude_02
Untitled (extrusion 2), 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Extrude_03
Untitled (extrusion 3), 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Blood_line
Blood Line, 2008 Digital, Mixed Media Drawing 24 X 29 (dimensions Variable) © 2008
System_1_2006_96x192
System 1, 2006 Digital, Mixed Media Drawing 96" H X 192" W © 2006
System_3_2006_90x174
System 3, 2006 Digital, Mixed Media Drawing 90" H X 174" W © 2006
System_3_2006_90x174_detail
System 3 (detail), 2006 Digital, Mixed Media Drawing 90" H X 174" W © 2006
System_4_2006_90x162
System 4, 2006 Digital, Mixed Media Drawing 90" H X 162" W © 2006
System_5_2006_66x198
System 5, 2006 Digital, Mixed Media Drawing 66" H X 198" W © 2006
3d_for_drawing_center
Untitled (extrusion 1), 2008 Digital, Mixed Media Drawing Dimensions Variable © 2008
Prismaticon
Prismaticon, 2009 Digital, Mixed Media Drawing 192" H X 219" W (dimensions Variable) © 2009
Thesis
Thesis, 2009 Digital Drawing Dimensions Variable © 2009
Antithesis
Antithesis, 2009 Digital Drawing Dimensions Variable © 2009
Img_3123
Quick Facts
Birthplace
Pittsburgh, PA, USA
Birth year
1975
Lives in
Columbus, OH, USA
Works in
Columbus and Gambier, Ohio
Schools
NYSCC Alfred University, Alfred, NY, 2006, MFA, Electronic Integrated Arts
Kansas City Art Institute
Tags
comics, mixed-media, video-art, digital, abstract
Statement

The utilization of digital technology is central to my artistic practice. Nearly everything that I produce either begins with a pen on paper or is a reflection of that process when I draw directly on a computer. I ponder the digital mark and wonder how, even when we live in a time of radical shifts in the ontological and epistemological framework through which we understand the world, can the physical, empirical manifestation of a simple mark become something other as well? A digital mark is not physical, nor does it necessarily possess a simulacral quality. A drawing one makes directly in a computer obviously cannot be dismissed as not being original, but a digital file is recursive and can be copied precisely an infinite number of times -- to the point of rendering the very idea of an original obsolete, perhaps even absurd.  I’m interested in what a drawing can become and how far it can be pushed specifically with the use of digital imaging technology.   

The technique that I use to draw is a process that keeps me centered and focused in ways that others have not. It is in the act of drawing that I feel most present. The act, for me, is a meditation. It is this idea that lead me from making primarily illustrative and representational work to abstract work that explores line and form. Lines on paper have become lines on paper so to speak. It is in doing this work that I’ve become more conscious of the phenomenological aspects of what I’m working towards, and how it might be approached by a viewer. I think about the idea of really seeing something beyond passive viewing, instead making the process about what one brings with them when they look at any work of art.

We don’t experience anything in a vacuum. Everything we experience is affected by the cumulative experiences we bring to the specific moment we engage the work in front of us. I think of my drawings as voids that take on a meaning that is specific to the viewer -- in a sense they, like most things we encounter in life, are like a mirror revealing only what they see and not necessarily what I’ve made in the empirical sense.