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ImFeelingLucky.me Artwork - Limited Edition of 1

Adrian Tripon

United States

Mixed Media, Vector on Aluminium

Size: 46.5 W x 36 H x 3 D in

Ships in a Crate

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About The Artwork

Google and a vagina… what? The vagina is the progenitor of life and being. The creator of geniuses, psychopaths, heroes and villains. It unites us as human beings as walking symbols and contributors to the universal intelligence of humanity. Together as an internet of mankind in the analog, we are a combination of genetic computers moving to the cultural rhythms of our society. Similarly, the vagina also holds power and the possibility of addiction. It sways the most logical being into doing the unthinkable. Some say they can’t resist their own sexual urges and end up succumbing to it in a brief moment of dopaminergic escape. The vagina also has negative connotations. Its allure to man is what propagates despicable acts like prostitution. It can be objectified as bait, diabolically “waiting” for an antagonist to act sexually and in turn, for lack of a better phrase, the antagonist “gets f*cked.” With the recent case of NSA leaks regarding Eric Snowden, it was in this spirit that the artist decided to create “I’m Feeling Lucky,” since our own personal information enables “big data” companies like Google can f*ck the populace using their products. At the root of this piece, Google combines our analog thoughts and desires into the digital world. The company’s complex use of algorithms creates a powerful profile of the user’s habits, thoughts and wants. However, the search engine is so addicting in its necessity to give birth to new information for humans in its search pages, it has become the digital vagina in its creative ability and addictive necessity for the user. Drugs could have been a corollary for symbolism, but the vagina allows birth to progeny based on the mix of genetic code between human mates. In turn, Google untangles code and stored information to give birth to new and undiscovered information. However, once in the database, the user can never get out, just as a person can’t get out of life except by suicide, murder, illness or old age. In both cases, we are products. As humans in birth, and through our own data by Google. Our Privacy Is Getting F*cked Coincidentally, the same information we provide Google that thusly enables us to have a better search experience is the same data that can be used to literally “f*ck” our privacy. Thus the representation of the vagina as a sexual object may be a metaphor for the vulgar enunciation of getting “screwed over,” or “getting f*cked.” We can’t stop using Google, and we can’t stop having sex. Interestingly enough, you can “get lucky” doing both. One wonders if Larry Page and Sergey Brin thought of that when they added that button to their website. Interactive 1) http://ImFeelingLucky.me The user must accept or deny the Google Terms of Service. This makes the viewer of the interactive artwork directly liable for their actions in regard to the piece itself. The viewer is given brutal terms of service where one waives their entire right to privacy and is forced to agree or disagree with the terms of service in order to view the link. If the user disagrees with the terms of service, they are sent to the “ostracism” link on Wikipedia http://en.wikipedia.org/wiki/Ostracism and the interactive artwork ends there. However, should the user wish to progress to the next stage of the interactive artwork, they must agree to the TOS in order to move forward in the artwork. 2) http://ImFeelingLucky.me/rabbithole.html Once the viewer agrees to the Google TOS, they are taken down the proverbial rabbit hole a la Lewis Carroll’s Alice In Wonderland. Met with creature of questionable charm, like Willy Wonka, they are welcomed to a surreal alternate reality in which Google dominates tapestry of reality. 3) http://ImFeelingLucky.me/googs.html A strange new world, where Google is the nucleus of its own universe. An alternate online “Googleplex” where several of Google’s core products are showcased. Each product contributes to Google’s overall “data mine,” which hosts our most personal and private data. The user is urged to click on any of the options available on screen, yet the user will quickly realize the flow of information is not so free the other way, as the user is encountered by a Google policeman at every turn, castigating the user. 4) http://ImFeelingLucky.me/visitorscenter.html Even if the user clicks on the “visitors center,” in the middle of the artwork, the viewer is accused of potentially causing a data breach– something Google’s crime-predicting algorithm red-flagged. 5) http://ImFeelingLucky.me/getsent.html There is no way the user can access the Google facility or their own personal information stored on Google’s server. The viewer is sent by Google’s security services to hard labor in Google’s data-mines as punishment for breaching, or thinking about breaching, Google’s data. 6) http://ImFeelingLucky.me/datamine.html A comical version of Google’s data mine, replete with minecarts full of binary information. 7) http://ImFeelingLucky.me/securitybreach.html One of Google’s data miners pleasantly urges the user to get to work in the data mine. 8) http://ImFeelingLucky.me/yourenewhere.html The user finds an ally in a rebellious data miner planning a daring escape out of Google’s netherworld of data. 9) http://ImFeelingLucky.me/tooalluring.html Alluding to the analog portion of the art. The data miner looking to escape discusses the the fact that Google was “too alluring” for the viewer. Its ease of use “entrapped” the viewer, thereby taking the viewer down the proverbial rabbit hole. 10) http://ImFeelingLucky.me/tunnelout.html The viewer’s partner in crime plans a route of escape from Google’s omnipresent data mine. Within the cavernous mine, a light from the top indicates a way out, similar to when the sun shines through the heavens. Originally an entrance created by Google’s enemies to mine and steal Google’s own data, the basket ride to the top offers freedom to the viewer. 11) http://ImFeelingLucky.me/letsgo.html The user is urged to go. No one has spotted the escape route and the viewer, along with their cohort, successfully flee the datamine. 12) https://www.Facebook.com/pages/Help-Us-Get-Out/687445017951320 Interestingly enough “freedom” from one data mine, like Google’s, does not mean that a user is not free from all data mines. Here, we learn that Google’s competitor, Facebook, created the entry into Google’s data labyrinth which the protagonists escaped from. However, they are caught in Facebook’s tangled web of data collection. As the protagonist poignantly says “once you’re in, you never get out.” Google, Facebook, Yahoo… your information stays for the remainder of your existence. ImFeelingLucky.me 46.5 x 36 inches 118.1 x 91.4 cm One-of-a-kind CGIF on aluminum, Websites, Facebook pages

Details & Dimensions

Mixed Media:Vector on Aluminium

Artist Produced Limited Edition of:1

Size:46.5 W x 36 H x 3 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Adrian Tripon (pronounced TRY-PAWN) currently resides and works in San Francisco, California. Living in close proximity to Silicon Valley, the global epicenter of technological innovation, Tripon has made it his duty to implement interactive digital technologies like social media and websites into his canvas or print artwork in order to convey the discussion and story regarding his art in a truly unique and modern way. Tripon has two unique narratives he continuously tries to address in his art, the first is the exploration of modern symbology, memes and narratives discussed in popular culture and their impact on his current generation’s view of cultural perception. The second is the capture of the current tech scene in San Francisco and Silicon Valley. Like Toulouse-Lautrec studying Parisian nightlife or Mary Cassatt exploring the depths of 19th century bourgeoisie, Adrian believes it necessary to capture the technological revolution occurring in the San Francisco Bay Area in his art, if not for his own — then posterity’s sake.

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