Barry Stone

»DAILY, IN A NIMBLE SEA«

»20150714-DSCF9064_3.tif Bailey Island, Maine (soft sun), 20150714-DSCF9064_3.txt Bailey Island, Maine (soft sun)«
2016, 2 archival inkjet prints on Polar Matte inkjet paper, 101 × 150,5 cm each

»20150714-DSCF9296_3.tif, Bailey Island, Maine (seascape), 20150714-DSCF9296_3.txt, Bailey Island, Maine (seascape)«
2016, 2 archival inkjet prints on Polar Matte inkjet paper, 101 × 67 cm each

»20150714-DSCF9297_4.tif, Bailey Island, Maine (seascape), 20150714-DSCF9297_4.txt, Bailey Island, Maine (seascape)«
2016, 2 archival inkjet prints on Polar Matte inkjet paper, 101 × 67 cm each

Barry Stone's work deals with code through the lens of photography. His pictures are made with a digital camera and then altered to produce a generative glitch, sometimes referred to as databending (the process of altering raw data to manipulate the way the data is interpreted by computer programs).

At »Open Codes« we can see pair selected portions of the code from the photographs they are placed adjacent to. The shape of the code forms a picture in many senses of the word: it is a map of the image, a projection of the space in front of the camera, and a kind of concrete poetry. In a purely physical way, it is a field full of symbols. These symbols, like an anagram, can be rearranged and purposely disordered, resulting in gestural delusions or glitches.

The titles of each image are derived from their digital file names and the place where the photographs were taken. Each pair has also the same title with the exception of the filename extension: the code pieces have ».txt« in their titles, whereas the image pieces have ».tif.« This naming strategy emphasizes the fact that each pair of code and image is generated from a single source and the two are simply translations of the same information.

Courtesy of Klaus von Nichtssagend Gallery, New York