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when we see a digital image, we are truly seeing a simulacrum, a collection of pixels formatted to trick the eye/brain of the observer into forming an impression of the real. it is only through the malfunction of this system, the glitch, that the true material reality of the image can be revealed. the embrace of the mistake or failure represents a powerful gesture in a culture obsessed on maintaining the image of success (even if this image is built on the reality of deep precarity). in fact, the aesthetics of glitch, as a striving towards the real of the digital, in many ways parallels the romantic turn towards nature in response to a new enlightenment of techno-utopic accelerationism (often obliquely referred to by digital art's obsession with water and fluidity), but the pastoral landscapes of glitch are fallen landscapes, haunted by the spectre of their own destruction.

the work in g͠lͮi̔t᷾c̝h̳ invites the viewer to explore these ideas through the machinic gaze of the cyborg. a gaze that is able to see multiplicities of perspectives superimposed on top of each other, distinct and intermeshed simultaneously. a gaze that sees outside of time and linearity into a world of simultaneity and speed. a gaze that does not seek to build complete coherence out of raw visual information. the gaze that privileges ambiguity and fluidity. a gaze that is aware that even the distortions are distortions.