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Tarron Ruiz - Avila

Tarron Ruiz - Avila

Bereich: Medienkunst

BraveSone © Tarron Ruiz-Avila

LoosingSleep © Tarron Ruiz-Avila

LoosingSleep1 © Tarron Ruiz-Avila

ParadiseLost1.1 © Tarron Ruiz-Avila

ParadiseLost1.2 © Tarron Ruiz-Avila

ParadiseLost2.1 © Tarron Ruiz-Avila

ParadiseLost2.2 © Tarron Ruiz-Avila

WhiteGodsoftheNorthI.a © Tarron Ruiz-Avila

WhiteGodsoftheNorthI.b © Tarron Ruiz-Avila

WhiteGodsoftheNorthII.1 © Tarron Ruiz-Avila

WhiteGodsoftheNorthII.2 © Tarron Ruiz-Avila

YearOfTyrant1 © Tarron Ruiz-Avila

YearOfTyrant2 © Tarron Ruiz-Avila

Key Facts

Nationalität

Australien

Bereich

Medienkunst

Wohnort

Sydney

Empfehlende Institution

freiraum quartier21 INTERNATIONAL

Zeitraum

September 2013 - September 2013

Tarron Ruiz-Avila is an Australian artist who has exhibited extensively in both commercial and artist-run galleries, holding regular solo shows. Tarron trained at the National Art School in Sydney, he holds a Bachelor of Fines Arts in Print Making with honours in Drawing.
Tarron’s practise is primarily focused on creating small scale collages, dioramas and kinetic displays. These works are carefully constructed of images sourced from a variety of used and/or discarded print media publications. Ink, gouache and watercolours are used to draw into the images and manipulate them.
An undoubtedly subversive activity, Tarron’s practise acts out, almost in protest to the prescriptive nature of the media they were drawn from. In the spirit of culture jamming and billboard alterations these constructions impose autonomy and initiate dialogue with a medium that generally imposes a passive reception of ideas. But perhaps most importantly they present an opportunity to re-enchant an empirical world, that is all to often burdened by a “mess of facts”.

Tarron Ruiz - Avila

Projektinfo

My project would be a continuation of an experimental drawing practice I have been developing over the last 12 months. It consists of gathering newspapers and other print media and drawing into the photos contained within them. Acrylics, gouache and inks are used to modify the images.
The application of these works vary, often I’m content with the process. But on occasions, after subtle modifications were made, I have placed these publications back into circulation with the intention of them being viewed as genuine media.
At heart it is a subversive project, in the spirit of culture jamming and billboard alterations. The idea is to reclaim autonomy and engage in a dialogue with a medium which maintains an all too often passive reception of ideas.

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