CURRENT SHOWS Chashama Donnell Windows, November 5 - December 19, 2010

Please join us for hot cocoa amidst the midtown holiday buzz to celebrate the opening of my Chashama window shows!

Thursday, December 2, from 7 - 8 pm. 20 West 53rd St. btwn 5/6, closer to 5th, S. side (across from MoMA)

color conflagrations and extra-dimensional photogrammetry will be on view in the [regrettably] closed Donnell Library Windows through December 19. If you can't make it to the sidewalk opening, I do hope you get to pass by the 24/7 exhibit at some point!

images of photomontage

about the work in the large East Windows, color conflagrations

sean wrenn's immersive photomontage works transmute “photographs as memories” into flowing geological strata of optical engagement. The layered, timeless photo-image spaces record the threshold between dreaming and consciousness, offering recorded memories for the viewer’s visual-neurological, associative interpretation. Combined with Astronomical inspirations and “implicate orders,” the visual content draws upon archives of original imagery documenting the East Williamsburg Industrial Park and English Kills Canals area landscape.

Overcrowded, unsustainable, and interwoven with inherited violence, contemporary reality is often as grim as cyclical history seems to have expected. Much like the optimism of digital acceleration and 21st Century military occupations, Victorian technological optimism gave way to peaking industrialism, social upheaval, war, genocide, and capitalist-crisis-induced corporate reorganization from 1915 to the 1970’s. We are now at another critical turning point.

The image recording mediums and physical fragmentations of the works attempt to capture time, while also suggesting self-referring, artifactual significance. Circumstances of digital technocracy, real estate in transition, and economic overextension ever more reveal the ubiquity of metropolitan Creative Destruction. As photos mark moments in a continuum of change, the destructive combination of images quests for something reflective of, but also self-critically beyond, image-saturated contemporary urban experience.

Wrenn works numerous interdisciplinary day jobs, including library management and patron research assistance at the International Center of Photography. She met Susan Kleckner at ICP and participated in her intensive “Daily Practice” course over 3 terms. Developing directly from relationship with Susan (1941-2010), the "Color Conflagrations" exhibition is gratefully dedicated to her memory.

“color conflagrations” will be on view December 1 — December 19, 2010

images of interactive performance

about the work in the [far East] Installation Room Windows, extra-dimensional photogrammetry Within contemporary near-totalized global mapping, our cognitive capacities have become accustomed to visualizing both street level and “bird’s eye view” perspectives simultaneously. Whether held in the mind as a familiarity with the cartographic landscape or assisted by real-time GPS handheld devices, we carry an idea of multiple, simultaneous perspectives while traversing the surface of the earth. The Google-Earth empowered worldview could be projected toward future understandings of place within the universe or even the theoretical multi-verse.

Developed by Army Air Corps Engineers, aerial photography [initially as proprietary intelligence] established mid 20th century senses of national security. Aerial surveillance in the 21st century also carries a burden of numerous cognitive implications. Wrenn’s installation room projects utilize recent original European photographs, maps, and appropriated 40’s era aerial photographs in layered explorations of unity vs. division and “global culture” -- via installation, montage, and socially interactive “glass barrier” public communication experiments.

As conceptual photogrammetry (much like the “Color Conflagrations” works), the evolving installation investigates geometric properties of ideas, place, and passing time/experiences as represented by prolific, popular photographic image-making. For example, “chat window” (11/5/10 untitled action featured in documentation photos) now only exists in the memories and “memory cards” of the hundreds of tourist participants (with Sharone Vendriger & Alexandra Breznay, street-side). Public participants have been emailing photos and comments// website to come...

Wrenn’s grandfather, Lt. Col. Robert G. Bowie served as the Chief of Photographic Branch at Wright Field (Dayton 1941-45). This project is inspired by images salvaged from a molding locked suitcase deeply buried in a remote basement corner in Rochester, NY.

“extra-dimensional photogrammetry” is on view November 5 — December 19, 2010, evolving over time as social art experiment (public action on 11/5 conceived and performed in collaboration with Sharone Vendriger and Alexandra Breznay), also including 5 weeks of public studio residency.

sean wrenn (aka scrapworm) lives as a sculptor of spatial, optical, and philosophic experiences. full CV available online. main site and project and concept sites // Previous Chashama shows include 2003 (Tixe, It is Itself), 2004 (Tixe, Visions of Excess: Visions of Void), 2005 (234 W42nd, on the way), 2006 (208 W37th, land of make believe and associated braneworlds), and 2004-2005 residency in the 40 Worth St. studios. Master of Fine Arts degree received at Maryland Institute College of Art, Mount Royal School of Art, 2008. Bachelor of Science degree received from NYU Dept. of Art and Art Professions, University Scholars, cum laude, 2002.