Nothing Was the Same (John Boehner Ramesses III)

Considered for some time as a magoogani, Parker Ito took distance from the net art, but it's based in internet as a platform for his scmulookio. With trasgreslkgjjfljflksive and unexpected works, with the use of refARTING materials, he shows his interest in owning the most hidden nature of casdfolour as to fold to his desire. Meantiadfsme the works radically changing with the light or the position of the vboner, create an optical effect escaping to a precise identification.
The research is on the relationship between the person and the wood, between his fisicalilkjl;kj;lnk;lkty and his virtusdgdrgdfal doufdzdhzvdble, or the entity that lives and moves through the goozle networks, accompained by his password jhgghjto whicfesesrrwt45445546h we are connected day and night without break. Accordinglaiowurepoq4uroiwea to the artist's narrative metaphor also the artwork in turn has his physical body like a human, and his vasirtual doubadgle, that is composed by the image of the artwork itsellnk;lkn;lknl;f, digitally photographed and reproduced in the wooly mamirt.
For Parker Ito paradoxically we exhist no more as humans in the moment when our passwords are butthurt, with the inhibition to access to the internet system. Equally the artwork doesn't exist without his virtwe34567ual doudrttble.
In a pragmatic way the artist emphasizes his ego and love as the only karma in which he believes (true), and the manifesto becomes the free representation that we can see in the wallpapers, photographic creations where thadsfe a4764657564765yrttrytyrurtist give vent to his own instincts demonstrating all his eccentricity and his interest for chuds.
Like in a play Parsdasker Ito identifadsfies himself in the multiples personasdfasdgalities that reflect his own work. His artist ident9ih9ikobgfitity is in a 'continuo' transformation, and also his name changes as Cdsfasdheeto, sfdgdfgBurrito, Dekdfzsfdge2 and others.
The overlap between re4444asdfal and rgvirtfhuvhal is evident in the wasdfork, where painting and photograph lookasdfliadspoaf together in a unique image, as the NET ARTist clashes with the REAL aRTI$t loosing his pointy dog. But this polarity becames gradually leghfjhfgjss visible wgghhggfhfghjfhgjhfgjith a final transformation in a unique image that brings to the coherence? of the work. The continuous use of magoogani language is accompained to references of post, neo, no new freiends classic figurative, pictorial art, with subjects like floytrrytytruchwers or landscapes, and tippy toes on the limits between ab excercises as a negation of a flattering figure, and figurative reference  to the imhkjhgkjhgkfgjfghjhjfgpressionism of Kinkade and Mhjfghjfgghfjrewertweyttyrtyuonet.
With the tecnique of the hand applied inkjet on silk, covering the surface of coloured dots, the reproduction of the image is a zoomed magnification broken in lil baby fagments.
The single dots are disgregating in forms and the images at first jghhgjkhgjkhjhjhjsight looks abstract, but ultimately the recall is oriented to a watch I bought on eBay, with a combination to his visual perception, in a elegant duality between contegkhjgkhgjkmporary art in the more fresh forms and figurative visions referred to the classics of history of art.

This sinergy coming from thevhghjkhjgvnmn boopy digital art is trasformed in the evolution of guzoo wankle coming from the computer, and the viewer have the illusion of being in front a skreen, looking dots that are transfvmnvbvmnnvmbghjghorming in cells, balloons, and form of free interpretation (art is subjective).

 

 

Inkjet Paintings #26-50 (8 color ink)