The mind creates, the corporation accentuates. In the material reality, art objects are reproductions of the imaginations of the mind — a mind that uses the corporation as a parallax to materialize ideas, patterns and emotions. With the synergy of the electronic environment, the mind is conceiving a point where it will be free from the corporation to transcend immersions into the parameters of the delphic reality.
Reed Brady’s Work of Anti-Art in the Age of Symbiotic Wave Reproduction contains 10 minimal shockwave engines (also referred to as “shopbots”) that enable the user to make audio/visual compositions. Through his work, Reed investigates the relationship between expressionistic sensibilities and UFO sightings, exploring the nuances of modulations through the use of slow motion and close-ups which emphasize the Symbiotic nature of wave riding. Inspired by his time spent in La Ventana, Reed explores abstract and scenery as motifs to describe the idea of hyper-real reality. Using loops, non-linear narratives, and matrices of disillusion as patterns, he creates meditative environments which suggest the expansion of art. As shimmering derivatives become clarified through studious and diverse practice, the viewer is left with a tribute to the possibilities of our era.
When La Ventana’s winter artist-in-residence isn’t busy doodling on the back of people’s trucks, Reed can be found nailing Slim Chances, foiling the light winds or boosting the stoke on the beach.