View In A Room
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VIEW IN MY ROOM
VIEW IN MY ROOM
Painting, Airbrush on Canvas
Size: 51.2 W x 59.1 H x 1.3 D in
Ships in a Crate
Artist featured in a collection
Featured in the Catalog
Showed at the The Other Art Fair
Nadia Jaber’s paintings jump around, scrolling between textures, flipping tabs into new color palettes and stretching materiality. She riffs between styles and ideas, cutting and scratching them like a DJ would, to curate something entirely new. The eyes and mind can keep up of course, because we’re used to this hyperactive image intake - we do it all day, everyday on our phones. “about:blank” is Nadia’s series reflecting not just on our visual ADHD but on what the mysterious machines behind social media are making us want, or think we want, and what that means for art appreciation. How about the artist as a postdigitalist algorithm, an online magpie curating a found line, shape, and color to generate an analogue version of the digital stream of information. Nadia’s work is a full-scale rebellion against the smoke and mirrors of social media, the artwork makes the virtual vibrant. Nadia takes an old-fashioned needle and neatly sews it all together. The work is generative in that it’s a remix of some other artworks. Its narrative structure is set up to tell a new story every time you see it, depending on where you start. 307 Temporary Redirect This artwork reflects on the speed of information and mobility we experiment in our daily basis. The pigeon is a metaphor of freedom and represents as well a vehicle through which information travels. The empty spaces in the canvas are meant to give an extra void or amplitude within the painting, to increase the mobility of the eye inside the artwork representing both the unknown status of the information we are accessing and the destination where it is taking us. The word “go” expresses a positive message towards the viewer, meaning how it is normalized in our culture the “necessity” to travel for pleasure as well as the necessity to share everything that happens in our life, through information, being now technology the messenger and in a fast pace (represented by the chaos created in the background of lines). The "GO" sewed canvas of this painting is a part of Oscar Murillo’s painting “Yoga” from which I appropriated the final part of the word “ga” and changed the “a” for the “o”. Murillo is one of the first painters that started sewing parts of canvases together to create a new composition. Having an appropriated part of one of his paintings in this artwork is meaningful since all the paintings in this series are done by sewing parts of canvases together. The pattern I appropriated from “Mao” by Andy Warhol represents a metaphor of how now the same “pop” culture that he showcased in this work now is as mainstream as mobility/mass information. The title "307 Temporary Redirect" comes from an HTTP response status code indicating that the requested resource has been temporarily moved to another URI (a string of characters that unambiguously identifies a particular resource). The link between the artwork and the title comes from a Taoist Proverb that says “We cannot see our reflection in running water. It is only in still water that we can see”. Running water understood here in the sense of mobility and travel, mass information and distractions. The title of the artworks in this series comes from HTTP status response codes. The codes are standard response codes given by website servers and are sometimes called internet error codes. Naming the paintings with these codes I wanted to create a bond between them and the conceptualization of these series. As the code that titles these series “about:blank” displays a blank page when the browser has nothing else to show, the title of each painting is named after a different response code given by a website when an error happens. Painting composed of 9 different canvases sewed together. Painted on the sides, so no need to frame it. Signed at the back of the painting, and delivered stretched and ready to hang.
Painting:Airbrush on Canvas
Size:51.2 W x 59.1 H x 1.3 D in
Packaging:Ships in a Crate
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a wooden crate for additional protection of heavy or oversized artworks. Crated works are subject to an $80 care and handling fee. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:Artist's studio in Spain.
Customs:Shipments from Spain may experience delays due to country's regulations for exporting valuable artworks.
Artist Nadia Jaber (Spanish, b. 1986) channels the artist as a postdigital algorithm, an online magpie curating a found line, shape, and color to generate an analog version of the digital stream of information. Nadia’s work reflects not just on our visual ADHD but on what the mysterious machines behind social media are making us want, or think we want, and what that means for art appreciation. Her work has been featured in “15 Emerging Female Artists To Invest in Before They Blow Up” selected by Saatchi Art Head Curator Rebecca Wilson, and her paintings have been included in interior design projects featured in AD Spain Magazine. She has participated in the Other Art Fair by Saatchi Art in NY and had a solo show in LA. Also had participated in Art Fairs in Madrid and Mallorca. Nadia Jaber’s paintings jump around, scrolling between textures, flipping tabs into new color palettes and stretching materiality. She riffs between styles and ideas, cutting and scratching them like a DJ would, to curate something entirely new. The eyes and mind can keep up of course, because we’re used to this hyperactive image intake - we do it all day, every day on our phones. Nadia’s work is a full-scale rebellion against the smoke and mirrors of social media, the ultimate collage of the current algorithmic syncretism and acknowledges not only Nadia’s belonging to the digital art revolution, but points rather gratefully to Art’s ultimate dimension, its digital kingdom, where artists thrive, collect, exchange, buy, sell, and perhaps, more definitely, find inspiration and half live. Nobody with their wits about them would question that the art world is increasingly virtual and that its health hasn’t been better in decades. So the question here prays: are technologies to blame or to praise? Andy Warhol, one of the most accomplished ambassadors of appropriation, was ecstatic after discovering the wonders of silk-screening. In one of the fewest interviews available online —omnipotent technology in full bloom— Warhol told to Art News’s reporter Gene Swenson a rather legendary line: «I think everybody should be a machine. I think everybody should like everybody». It was 1962. Warhol anticipated not only the behavior of today’s technologies but the ultimate lust of artists like Nadia, who are openly challenging themselves to become precisely that same technology.
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