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DTSTART;TZID=Europe/Jersey:20251206T120000
DTEND;TZID=Europe/Jersey:20251223T180000
DTSTAMP:20251126T171557Z
CREATED:20251126
LAST-MODIFIED:20251212
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TRANSP:OPAQUE
SUMMARY:Computer Club art exhibition
DESCRIPTION:The title of the exhibition is meant purely as a nostalgic hook intended to drive an immediate connection between the artworks displayed by evoking feelings of comfort, security and happiness with a generation of collectors who gained their first experience of mass produced computers, such as the BBC Micro and ZX Spectrum, in British secondary school curriculums from the 1980’s.\nAnd whilst all of the artists showcased in this exhibition have adapted their creative skills to facilitate the ever growing use of computer software this is certainly not an exhibition that’s concerned with exploring the technical ecosystems in which algorithms, networks, and computational processes influence how art is made, circulated, valued, and collected.\nInstead what we are being asked to consider is how artists, in the traditional sense of those that made paintings and sculptures, have adapted their studio practice over time through the use of the home computer to expand and improve the creative possibilities for their art.\n\nThe integration of computers into contemporary art practice has not only reshaped artistic production but also reconfigured the structures of the global art market. What began as experimentation in the mid twentieth century by ground breaking artists such as Harold Cohen has evolved on the production side by using digital tools to expand their artistic language with a toolkit far beyond traditional methods such as paintbrushes and chisels.\nThe artists Emily Allchurch, Russell Layton and Charlie Haydn Taylor have all successfully adapted their studio practice using software such as Photoshop but what is essential to acknowledge is the careful, controlled and sophisticated way in which the work is produced, and repeatedly edited until it finds a form of perfection.\nMaking art in this way is not, as some may think, a means of speeding things up by using technology to reach a faster end result. In fact it’s quite the opposite whereby these artists spend hundreds of hours researching, making and editing their images. In many ways there are comparisons to be made with the highly detailed oil paintings of the 19th century which were prized for their technical brilliance and for the huge amount of time it would take to complete a canvas. This is the old Victorian concept of ‘endeavour through labour’ which is being played out in the 21st century.\nThe artist Jacques Le Breton has for many years felt as attracted to making iPad drawings as he has oil paintings and the results are striking. There is a fresh immediacy to his work which is also found in the sculptural ceramics made by Claire Haithwaite who initially studied Graphic Information Design for her art school degree.\nSantiago Montoya is a contemporary Columbian multidisciplinary artist whose works are all conceived digitally as commentaries on political issues, conservation and the transmission of information from the digital to the real world and James Bedding’s partnership with Jane De La Haye draws upon the digital nostalgia of 1980’s and 90’s phonecards to create an truly breathtaking image of our island home. Proceeds from the sale of this piece will go toward four Jersey based charities who play a vital role in supporting the wellbeing of people with disabilities.\n
URL:https://channeleye.media/events/computer-club-exhibition/
ORGANIZER;CN=Private & Public, Jersey:MAILTO:chris@privateandpublic.com
CATEGORIES:Arts & Culture,Jersey,Leisure,Lifestyle
LOCATION:Phillips St, St Helier, Jersey JE2 4SU
ATTACH;FMTTYPE=image/jpeg:https://channeleye.media/wp-content/uploads/2025/11/Computer-Club-exhibition.jpg
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