Characterizing his studio practice to Rhizome, Travess Smalley offered: "I think of the home office as the studio." Smalley's interdisciplinary use of the flatbed scanner as image-making tool and sculptural object reflects this gravitation towards the basics of a domesticated computing culture. His embrace of office tech parallels broader interests of the "surf club" generation of artists, who in the mid- to late-aughts used group blogs (Smalley was a member of one called Loshadka) to make conversational, collaborative net art out of memes, links, and the semiotics of the web. And yet Smalley's process of layering clay on the scanner bed, and scanning the composition to create a then-digitally-altered photographic print (as in the piece at auction), results in works relating as much to digital culture as to pop art (think, Jasper Johns), contemporary process abstraction (Gerhard Richter), and early photographic experimentation (Henry Fox Talbot's impressions)
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