#alex chitty

[garbagequeer]

Alex Chitty, A thing for things (2017)

[theories-of]

Alex Chitty

[theories-of]

Alex Chitty

[season22]

Alex Chitty, Better Favorite

[theories-of]

Alex Chitty 30 second sparrow (Unit 2)

[evanpjenkins]

Alex Chitty

[therumpus]

In episode 33 of The Rumpus’s Make/Work podcast, host Scott Pinkmountain speaks with artists Daniel G. Baird and Alex Chitty.

This week, Scott speaks with artists Daniel G. Baird and Alex Chitty. Back in January, Daniel and Alex sublet their apartment, quit their jobs, packed what they could into their van, Bosco, and left their home base of Chicago to travel around for a year with the intention of figuring out how to make it all work better. They speak to Scott about their goals, fears, hopes, and their desire to avoid being perceived as slackers. And of course the value of “Wiggly Time.”

Listen to Episode 33 (and subscribe to Make/Work!) now in iTunes. Or, get the direct download. And you can now get Make/Work through Stitcher.

[insidewithin]

I\W: What is your attraction to scanner distortions?

Alex Chitty: I started thinking about the scanner because it builds information additively. It doesn't capture a moment, it captures time. For me it was this huge crossover between performance, in that it is the record of an act. I would hide in the library under a coat in the winter to do this. I had my laptop and a portable scanner, but I had to get it dark enough so I had the coat over my head. They are photographs that I use for the distortions, but they are found photographs. They are also like painting because I can take a photo and paint with that rather than paint with a pigment and achieve the same thing potentially. I love the mistranslation between analogue to digital. I can hold a scanner up to you and it won't record you. It will invent a lot of information. Someone that knows you can look at it and know it is you. We don't need all the information. I want to know how much of something can be revealed or left out and your brain will do the rest of the work. My scanner pieces are meant to be light and quick, and feel easy.

(Alex’s studio space is a culmination base camp, a bright studio where her many materials finally merge together. Although previously focused on scanner distortions, Alex has incorporated shelving-based installations through a similar method of additive information. Transitioning back and forth between the design of both the shelves and the objects they hold, Alex forms cohesive arrangements that distort the viewer’s observations of personal narrative.)