kate steciw continues her exploration into the construction and dissemination of consumer culture in her first solo show at toomer labzda, boundless hyper. the show's title, arrived at using a common web-based naming software that pairs at random various search optimized terms, speaks to steciw's ongoing interest in the ideologies and aesthetics of networked culture. with a focus on e-commerce, steciw addresses the implications and applications of user identity both online and off.
three large works incorporate digitally compos... Read more
kate steciw continues her exploration into the construction and dissemination of consumer culture in her first solo show at toomer labzda, boundless hyper. the show’s title, arrived at using a common web-based naming software that pairs at random various search optimized terms, speaks to steciw’s ongoing interest in the ideologies and aesthetics of networked culture. with a focus on e-commerce, steciw addresses the implications and applications of user identity both online and off.
three large works incorporate digitally composited stock photographs in custom frames adorned with various household and consumer products purchased online; sports tape, ceramic tiles, automotive embellishments, faux wood, and contact paper. the result is a confluence of two and three-dimensional space. both familiar and unsettling, the works emphasize editing over creating per se.
the accompanying sculptures are created by manipulating a popular piece of “affordable” wall art displaying, in three separate cast metal pieces, the quote – live, laugh, love. steciw bends and twists the words together into illegible yet aesthetically pleasing forms evocative of modernist metal work. the pieces blur the lines between decor and institutionally ordained art object. the physical intervention with mass produced consumable is simultaneously, destructive and creative.
