64³² Spam Cans – Art Wants to be Free is my first public exhibition of a digital work and loosely a 21st Century historical upgrade to Andy Warhol’s first exhibition.  I feel that a part of Warhol's soul is alive and well, and spurs me on to create and recreate works in the Pop Art vein, and to distribute them as far and wide as possible.  Philosophically, I embrace the post-conceptual Nu Imaginist movement, and loosely associate myself with transhumanists.  I am also interested in the interplay between the three realities: the worlds of the physical, memetic/psychic and the new digital reality.  How art can inform and educate us about the relationship between them remains to be fully explored, and this is where I feel my role lies.

Artists can no longer simply compete for aesthetic beauty.  The advent of digital technology changed the face of artistry forever, as it allowed for the first time a forum in which perfection of craft (doubly so if a large sum of money is thrown at a concept) can be pursued to a level never before imagined.  Ironically, this means that the commodity in short supply today is imagination itself.  I am intrinsically more interested in the idea and intellectual underpinnings of an art work than I am in its’ craft or formal aspects.

As is the case with other Nu Imaginists, I eschew a personal biography as context for viewing our works, as this information boxes one's perspective into already considered realms, and blurs the truly original aspects of an artwork.  I would ask that you use humanity's shared artistic history as a pseudo-biography instead.  In this light, you will see the work in its fullness without the personal biographical blinkers that may bias your best efforts.

I like to focus on the journey of an artwork from a primal meme as it mutates through execution then morphs into and through your mind.  In this case, millions of others minds flow into the overall memesis and its subsequent mutations: the work lives therein...  That is what interests me most.

Colin Colorful
February, 2009