Rembrandt Quiballo has earned a well-deserved reputation within the realm of post-digital aesthetics by mixing various forms of naturalism with the practices of data-bending, the use of computational artifacting, and the sequencing of various styles and serial imagery. Interrupted streaming effects, file corruption and the proliferation of glitch effects permeate his compositions as they unfold in real-time, challenging the notion of a stable reality and extending the kinds of concerns that are informed by simulationist aesthetics. Part digital decay, part technological sublime, we experience the reflection of the what Lyotard called the figural in Quiballo’s works, only it has been transposed into surreal and irreal worlds composed of 1's and 0's.
Just as the diatribes around Post-digital aesthetics pick up where modernism left off - with so many debates around the function of finish or the degree of "unfinish” in painting - the digital realm plays with this same motif posited as part of the inherent tension between the apparatus of display and the conflict with rendering times. Thus, simultaneity and superimposition are everywhere transposed as so many layers, files, and ways of formatting reality, and Quiballo’s art practice serves to bring them into dialog across multiple mediums so that we can see them from a new and unsettling set of perspectives.
Thus, whether it’s Quiballo’s metallic substrates that disrupt the stability of the gaze, the warping of his video imagery into abstract bits and bytes of data, or the permutations of different lines and levels of mediation, his oeuvre points to the shifting ground between the real and the virtual that we encounter all around us. Often thought of as a form of computational "de-programming", the spread of glitch aesthetics point to the nature of artifice as an irrepressible force in instituting and maintaining the workings of the digital divide, which has global implications for the intersection of power and knowledge distribution. Quiballo is certainly one of the best cartographers of the changes concerning the democratization of images and the politics of access, and in this exhibition, he proves that the “New Geometricism” is as much a subject of morphology and mutation as it is computation and artistic conscription. For all of these reasons, Quiballo’s many projects place him at the very forefront of the field of digital, virtual and net art today.
Bio: Rembrandt Quiballo is a visual artist based in Phoenix, Arizona. Through the moving image, his work explores mass media and its effects on social and political history. Quiballo was born in the city of Manila in the Philippines. Social and political unrest would compel his family to leave the country, eventually immigrating to the United States. Quiballo received a BFA in Painting and a BA in Philosophy from the University of Arizona. He earned his MFA in Photography at Arizona State University in 2012. His works have been exhibited nationally and internationally including Albuquerque, Los Angeles, Chicago, New York City, Cairo and Berlin. Quiballo is the recipient of numerous awards, including the ASU GPSA Research Grant, the SPE Student Award, the Nathan Cummings Travel Fellowship and the Contemporary Forum Emerging Artist Grant.