The word glitch may have once signaled error, but it now refers to the practiced cool of deviation, a positive phenomenon for ‘net aesthetes. New York-based artist Lauren Silva’s works, painted, printed and collaged, are marred (in a good way) by the glitchy swerve of her brush-like marks. The computer-generated images added here would impress slightly more if painted; the ephemeral imagery of the Internet translated into a physical art, rather than borrowed from it. However, Silva’s experimentations are not without payoff: the intensely saturated semi-abstractions owe much of their luminescence to the creative employ of silk rather than canvas, a move that evokes the Impressionists’ use of white pigment—instead of the traditional ochre—to illuminate their plein air works from the quick, suggesting that there is yet more to be discovered in paint.
Pictured: Lauren Silva: Crest, 2015, archival print on silk charmeuse with paper, acrylic, ink, gouache and spray paint, 29 by 24 inches. Courtesy the artist and Zieher Smith & Horton, New York. Photo Matt Grubb.