Hayal Pozanti at The Aldrich Contemporary Art Museum

“Deep Learning”,  Hayal Pozanti’s solo show, currently on display at the Aldrich Contemporary Art Museum in Ridgefield Connecticut, features work related to technology and the human experience. Robert D. Hof’s article “Deep Learning” (MIT Technology Review, April 23,2013) is quoted in the catalog: Deep Learning in reference to “software [that] attempts to mimic the activity in layers of neurons in the neocortex”.

Pozanti employs her own alphabet of 31 shapes named “Instant Paradise” to create paintings and digital animations. Her new, large scale rectangular paintings are the same proportions of a smartphone screen but blown up to almost room sized canvases.


“Sixty Seven” – 2015
Courtesy the artist, Jessica Silverman Gallery San Fransisco and the Aldrich Museum

The paintings are all based on source data that is documented in the curatorial signage. “Sixty Seven” has “Source data: milliseconds it takes for the human brain to form a microexpression”.

Pozanti generates images through a process of selecting and overlapping shapes from her alphabet. The more the images are repeated over time the more recognizable they become. This is similar to the way Deep Learning software operates. All of these canvases were hand painted. Instead of using a computer to create these images, the artist is generating the work in reference to the software.


Gallery View

In the center of the gallery, video screens are suspended from the ceiling above eye level. Their placement and size are like an airport terminal or waiting room. Each screen is playing one of Pozanti’s digital videos featuring images generated from the “Instant Paradise” alphabet. The videos have a sound track of abstract poetry developed by assigning the shapes sounds.

Hayal Pozanti’s work relates to mathematics in two ways. The images have been created using algorithmic rules to explore the permutations of possibilities combining 31 distinct shapes. The paintings and videos are also an expression of computer’s ability to mimic human processes, as well as, how humans react to the technology that is now part of everyday life.

Susan Happersett

Daniel Canogar at bitforms gallery

Bitforms gallery specializes in exhibiting work in the realm of new media and digital art. Daniel Canogar is  known for his photographic, video, and installation art. He has exhibited extensively throughout Europe and the United States, including numerous site specific public art displays. Canogar’s current show at bit forms gallery is titled “Small Data” and consists of nine small installations. Each of the nine works include some sort of used personal technical device that the artist has bathed in an overhead photographic video projection.





In the work “AC, 2014”  Canogar uses an old calculator with a broken screen. A black and white video presentation incorporating a series of LCD numbers, hand written mathematical formulas, as well as other images is projected onto the calculator. The scale of this work makes it a very personal statement about the tenuous and fickle relationships humans have with our electronic devices. The device is no longer useful for its original purpose, but the remnants of the numbers it displayed and the formulas it helped solve still linger. It seems to me that “AC, 2014” is not only about the technological apparatus, it is also a statement about society’s relationship with numbers and mathematics. The rows of glowing calculator numbers, as well as the scribbles of formulae  – that accumulate and then recede – create a sense of anxiety.

— Susan Happersett