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Play, download and edit the free video Richard Garet, Untitled Series (painting semiotics), 2012.

Untitled Series (painting semiotics), 2012
Installation
Dimensions variable
Continuous running
Materials: Slides, projector, 58 slides, 2 speakers, photosensitive sensor

Richard Garet studied painting in NY in the nineties where he developed an extensive body of work. At the time the most common method for artists to document their work was through the standard 35mm slide. Garet collected hundreds of slides documenting his paintings and in some cases he destroyed a large number of these paintings. As a result the slides were the only reference that remained. In Garet$s practice the pictorial experience, the layering buildup, and the relationship to malleability and materiality found in painting are key elements that have transferred to the various medias with which the artist currently works, such as sound and video art, installation, and photography. Although Richard Garet has not painted in years, he still revisits the possibilities of painting through ideas and methods of expansion that reinvents the pictorial experience and situates the viewer in a challenging place to receive it.

Garet covered the complete surfaces of a group of 4' x 6' folding tables with the slides of his paintings. He then submitted the slides to various chemicals that would activate the decaying process of each slide. That process was repeated many times over a period of three and a half years. The artist then selected 58 finals out of hundreds of originals, which were then scanned. New digital slide prints were than created from the chosen originals. The intention was to completely transform the imagery embedded in the slide and consider it a point of departure towards a new beginning. Utilizing this method, the artist intended to revisit painting through the destruction or masking of painting itself, subsequently participating in the contemporary conversation of media presenting a newer vision of painting. The work was completed when image and sound met as they both moved on different cycles. Garet also utilized background noise and magnetic tape to make a sound composition that would be in conversation with the projected images. The artist decided to utilize magnetic tape due to the ephemeral condition of the medium, which as in the case of the slides, can be affected and eroded through physical and tactile interventions. Garet placed a photosensitive sensor on the projection which activates the sound when the light touches it, creating a synchronized experience of image and sound. The work plays indefinitely always presenting a new configuration of image and sound.

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Documentation from the solo exhibition Extraneous to the Message
March 2 – April 13, 2013

Julian Navarro is pleased to present an exhibition of new works by Richard Garet.

The exhibition consists of objects, installations, and multi-channel space interventions that invites observation on the conditions of sound and its reception into the processes of listening, immersion, communication, and noise as the background plateau that is embedded in everyday function.

Garet’s intimate spaces and immersive situations, whether conceptual in origin or stemming from his investigation of sound and function, are informed by the background noise established by mass media culture of everyday life. Garet’s reductive process seeks to invert the normative function of this background noise, drawing it up from subliminal status to an active presence. He finds further inspiration from objectifying the ordinary and from materials that incorporate problems of context, technology, defunctionalization, commodity, and situation.

These works propose ideas that rest on depictions of ontological investigations of sound, time, media, information, and noise as a subversive voice alongside commodification. The title of this exhibition, “Extraneous to the Message,” invites contemplation on the activity of listening, as the activity that reinvents the experience of the subject, by comprehending sonic fields and the importance of its symbolic value within a context of subjective-noise.

36-01 36th Avenue · Long Island City, NY 11106 · julian-navarro.com

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