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United States
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12 x 16 in ($95)
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Black Canvas
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White ($135)
A powerful piece upon which the dichotomy of two transcendental symbols exist. On one end, the omniscient cross, a shape synonymous ith the analects of religion. On the other, the iPhone, a stolid and revolutionary technology that achieved permanence in cultures from New York to Sydney, from Buenos Aires to Beijing. People worship their smartphones, like the iPhone, more than they worship their gods. Individuals in this day and age rarely go anywhere without a phone– a piece of technology that has become engrained in their very being the same way Christianity is part of the practicing Christian. This wall sculpture is an exploratory work intended to question the unchallenged paradigms we value in a society, specifically, the dependence on technology as the new religion. The cult of the smartphone, much like the cult of religion, is omnipresent within the structural paradigm of a society– providing an intellectual and technological crutch for its users. Whereas religion generally acts as a stopgap regarding the responsibility of one’s decisions — the antithesis of Sartre’s existential philosophy, religion also explains mankind’s place in the world by filling the void in the human narrative regarding the meaning of life. Similarly, the phone has become the very crutch society leans on for the execution of modern life itself. Imagine living without the smartphone, how would that feel? Imagine a world without the religious mythologies — is such a feat even possible? The iPhone was utilized in the piece to propose a multi-layered meaning to the work. Not only does the wall sculpture explore technology and religion, but also the cult status of the iPhone itself as it relates to the deified role of Steve Jobs. Jobs’ popularization of the iPhone opened the door to a new cult of technology in which more people are being indoctrinated every day. The technological revolution of the smartphone changed humanity’s operational paradigms, just like belief structures created by religion affected generations across the millenia. iCross 13.5 x 19.5 x 1.25 inches 34.3 x 49.5 x 3.2 cm Seven iPhone3′s, wood, adhesive
Print:Giclee on Canvas
Size:12 W x 16 H x 1.25 D in
Size with Frame:13.75 W x 17.75 H x 1.25 D in
Frame:White
Canvas Wrap:Black Canvas
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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United States
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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