To understand the contraindications and interactions between public and private space,  it is necessary for my creative practice to remain in flux between studio art and public art. My public art projects, such as distributing painted jackets in shared spaces during the winter, try to use ephemeral street art as a way to engage individual people. The inverse of this, my studio practice, uses disregarded items from public spaces as readymade forms and reference points applied in sculptural paintings for viewing in generally private spaces. By working quixotically between public and private space, the ideas and mythologies of my own perception and reaction to a space are humbled through a heightened awareness of my own biases. A firmer grasp on how easily the subtle manipulation of space can change outcomes for the people experiencing it is also gained with this process through site specific research, interviews, and experimenting with multiple forms of visual communication.

Due to the constant intake, transformation, and output of physical material in my studio, it is helpful to understand my painting practice as a methodology as opposed to a philosophy. In the same way an architect or skateboarder must see elements of the urban environment separate from their conventional purpose, when I’m out looking for objects to bring back to the studio I try to see the tactile possibilities and conceptual entry points discarded objects have embedded in them. For example, My 42” x 30” assemblage painting titled Hypochondria began when I found a fake Louis Vutton Handbag filled with candy seductively sticking out of a trash can. By activating this object in the studio, a metaphysical link between the time/place context of the object's origin and a chain reaction of connections, associations, and narratives can be explored through an image making process. In Hypochondria, the rust and imperfections of the objects led to abstraction that tries to mimic the metal decay process through visual balance and replicated patinas and textures. Ideas about elevating a fake luxury item to the price of a real one through decoration, establishment of intellectual property, and are also at play in this work.

I try to see the physical environment through a scope compared to when I’m passively walking and only focusing on my destination

To preserve as an instrument something whos truth value he critcized

In the same way a verbal conversation that connects symbols, context, time, and place can be understood as

My found object paintings

Anthony Reamer

First Year, Studio 823

https://anthonyreamerstudio.myportfolio.com

Graffiti, skateboarding, - how they are the same. Differnt.

Developed visual vocabulary simplified into a visibly asemic writting system

Outcomes of future events- more voice in public space

Influx

Why is it importnat to work between public and private space

How i do this nad why

Larger cultural conversaion

In addition to his primary projects, he has worked in collaboration with Minnesota Public Interest Research Group, Save the Boundary Waters, Minnesota Sea Grant, and Common Apparel. He received his BFA from the University of Minnesota, Duluth in 2019 and is currently represented by Top Down Gallery Chicago, IL.