The Chazan Gallery at Wheeler is pleased to present the solo show COLOURED.AESTHETICA. featuring the work by Triton Mobley, from February 1 to March 6, 2024. There will be an opening reception for the artist on Thursday, February 1, from 5:00 - 7:00 pm.  All are welcome.

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Triton Mobley’s research and praxis culls together critical making methodologies across performative installations, programmable fabrications, and speculative industrial design—fashioning polemical art object assemblages that engender public reexamination. A collected body of works framed within economies of digital perceptions + cultural optics—problematizing notions of being situated between the discontinuities of emergent technologies and communities of marginality. The artworks, Coded #000000 [Black] and Volumetric Black, uncover the literal en/coding of anti-blackness into digital imaging technologies. These installations are a reimagining of obfuscation tactics for working class resistance within the digital delay—fabricated through art hacktivist [jugaad] outputs. In BARS+TONES, a continuation of the computational methodologies of Coded #000000, Mobley implements a recontextualization of the coded limitations of hexadecimal possibilities in rendering digital images of blackness—incorporating the use of an image-sound processor to make black skin pigmentation audible. In his latest collection Outside the Loop—borrowing its title from the film studies essay by Mary Carbine—the work comprises six computational animations—operating through speculative narratives that conflate southern migration patterns—the building blocks of the cosmos—and black death. Each episode remakes the origins of our spiral galaxy—with blackness centered. Mobley has presented his doctoral research and praxis at the African American History, Culture & Digital Humanities’ conference—Intentionally Digital, Intentionally Black in Maryland, Art Machines: International Symposium on Computational Media Art at City University of Hong Kong, the (IM)POSSIBILITY conference at Harvard, and most recently at the Taboo - Transgression - Transcendence conference in Vienna.  His  essay “Volumetric Black: Post-Cinematic Blackness” is available in the anthology Materializing Digital Futures: Touch, Movement, Vision, and Sound by Bloomsbury Press. His latest paper and companion computational artwork on highway expansion projects throughout the mid-20th century—will be published in Techniques Journal in 2023.

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Triton Mobley is a new media artist and researcher whose interventionist works, and guerrilla performances have been exhibited at CURRENTS Virtual Festival, Geidai Games Online at Tokyo University of the Arts, Art Basel Miami and staged in New York, Boston, Providence, and across Japan. Triton’s praxis culls together critical making methodologies across performative installations, programmable fabrications, and speculative industrial design — fashioning polemical art object assemblages that engender public reexamination. Triton holds an MFA in Digital+Media from the Rhode Island School of Design and earned his PhD in Media Arts + Practice — as an Annenberg Fellow — from the University of Southern California. Triton's doctoral research and praxis has been presented at the African American History, Culture & Digital Humanities’ conference — Intentionally Digital, Intentionally Black in Maryland, Art Machines: International Symposium on Computational Media Art at City University of Hong Kong, the (IM)POSSIBILITY conference at Harvard, and most recently at the Taboo - Transgression - Transcendence conference in Vienna.  His essay — Volumetric Black: Post-Cinematic Blackness is available in the anthology Materializing Digital Futures: Touch, Movement, Vision, and Sound by Bloomsbury Press. His latest body of work titled Keloid Archive debuted in a solo exhibition at Soloway Gallery in Brooklyn in fall 2022, was part of a group exhibition at the Museum of Contemporary Art - Arlington in spring 2023 and will be on exhibition in a solo show in January 2024 at the Chazan Gallery in Providence.

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Coloured.Aesthetica. is situated—both in language and in form—between objectness and obsolescence where the archived takes the form of speculative architectural fabrications. This new series of jugaad/ghetto mediated interventions—what the artist describes as the interpretative historical exclusions of archival technologies and formats—applies computational processes to the filmic capture of historical and contemporary image-based archives—some familiar, others obscure(d). In this latest expansion of Triton Mobley’s Keloid Archives anthology, Coloured.Aesthetica. offers tracings of chronological markers across the archived memories from America’s amalgamation of public, private, racial, economic, and religious spaces.