{"id":34,"date":"2026-08-16T12:10:02","date_gmt":"2026-08-16T18:10:02","guid":{"rendered":"https:\/\/artcurious-contemporary.com\/?page_id=34"},"modified":"2026-08-26T15:14:45","modified_gmt":"2026-08-26T21:14:45","slug":"artist-statement","status":"publish","type":"page","link":"https:\/\/artcurious-contemporary.com\/?page_id=34","title":{"rendered":"Artist Statement"},"content":{"rendered":"\n
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My practice begins each day by photographing whatever catches my curiosity. Those images are my only source material; I feed them through diffusion workflows I’ve built over the years, letting the machines lead the iterations I later curate into series. What holds me is the exchange between what I intend and what the machines return. What can a source image become when it’s drawn out through noise?<\/p>\n\n\n\n

I draw on Abstract Expressionism, Conceptualism, and the West Coast Light and Space movement \u2014 not to extend any one of them, but to press their concerns against each other. The Conceptualists’ claim that the procedure can be the work is literal here: I build the system and let it run.<\/p>\n\n\n\n

I came to this from printmaking, and its logic still governs the work \u2014 states, proofs, a plate, an edition. The machines generate the states; I pull the ones worth keeping. The plate is literal: pixel-saturated images printed on aluminum that appear to float just off the wall.<\/p>\n\n\n\n

Abstract Expressionism held concerns for me of form and non-form; Light and Space’s was light itself. That light shifts from series to series \u2014 saturated pigment in some, dark and low-contrast in others. Every image here began as something I walked past and noticed. What is created is neither that thing nor the machine’s interpretation of it, but the record of the negotiation between chance and intent.<\/p>\n\n\n\n

\u2014 Will Martin<\/p>\n<\/div>\n\n\n\n