Shannon Finley is attempting to make portraits that translate the binary language of the Information Age to the aural and visual on linen.  His paintings are squeegeed acrylics and polymer medium separated by sharp and precise knife lines.  The titles could be chapters from a sci-fi novel – “debug,” “ultrasound,” “stellar wind.”  You, the viewer, are standing in front of giant canvases trying to figure out how Finley achieved the works’ ghostly iridescence and delicately throbbing colors, as if light is striking a pearl.  His paintings are abstractions that have been condensed into geometric shapes, abstractions for a world run on artificial intelligence.  Finley is suggesting a logical argument in a computerized society – these are not the spontaneous lines of action painters but carefully, constructed shapes you, the viewer, need silence to contemplate.  Mounted on a black-and-white, geometric wallpaper, the paintings are windows to the future, a fantasy made probable by evolution of human ingenuity (and greed).  They are ephemeral glimpses into a future society we have not yet determined will be utopia or dystopia.
“Girl Gang.” xerox, gouache, oil pastels and ink. 2016.  see more of my work in the gallery.
Ultrasound from “Interference.” 2016. Shannon Finley.



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