Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

A suite of large print-works sourcing and abstracting exactly one week of specific pay-TV networks at 15 frames per second. These millions of ordered, discrete images are reformatted using various graphic, sequential, and data-visual approaches.

The three different reformulations (or "skins") of network streams each lay equal claim to accurately representing ("visualizing") the captured TV matter. Perhaps this emphasizes a contradictory sense of both truth and arbitrariness in the formal manifestations.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Born in 1970 in Indianapolis, Salavon obtained his MFA from Art Institute Chicago (IL). He has had solo exhibitions in New York, Chicago, Los Angeles, Columbus, Washington D.C. Houston, Seattle, Cologne, Seoul, London, Geneva, Basel and Paris, among others, and been featured in exhibitions at venues such as the Metropolitan Museum of Art (NY), Smithsonian Institution (D.C.), and Los Angeles County Museum of Art (CA). Salavon's work has been acquired for the public collections of the International Center of Photography (NY), Whitney Museum of American Art (NY), Los Angeles County Museum of Art (CA), Museum of Fine Arts (TX), Museum of Contemporary Art (IL), the Metropolitan Museum of Art (NY), Columbus Museum of Art (OH), Cleveland Museum of Art (OH) and more. In 2013, he was named one of the "50 Under 50: The Next Most Collectible Artists" by Art + Auction Magazine. Salavon lives and works in Chicago, IL.

A suite of large print-works sourcing and abstracting exactly one week of specific pay-TV networks at 15 frames per second. These millions of ordered, discrete images are reformatted using various graphic, sequential, and data-visual approaches.

The three different reformulations (or "skins") of network streams each lay equal claim to accurately representing ("visualizing") the captured TV matter. Perhaps this emphasizes a contradictory sense of both truth and arbitrariness in the formal manifestations.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Born in 1970 in Indianapolis, Salavon obtained his MFA from Art Institute Chicago (IL). He has had solo exhibitions in New York, Chicago, Los Angeles, Columbus, Washington D.C. Houston, Seattle, Cologne, Seoul, London, Geneva, Basel and Paris, among others, and been featured in exhibitions at venues such as the Metropolitan Museum of Art (NY), Smithsonian Institution (D.C.), and Los Angeles County Museum of Art (CA). Salavon's work has been acquired for the public collections of the International Center of Photography (NY), Whitney Museum of American Art (NY), Los Angeles County Museum of Art (CA), Museum of Fine Arts (TX), Museum of Contemporary Art (IL), the Metropolitan Museum of Art (NY), Columbus Museum of Art (OH), Cleveland Museum of Art (OH) and more. In 2013, he was named one of the "50 Under 50: The Next Most Collectible Artists" by Art + Auction Magazine. Salavon lives and works in Chicago, IL.

A suite of large print-works sourcing and abstracting exactly one week of specific pay-TV networks at 15 frames per second. These millions of ordered, discrete images are reformatted using various graphic, sequential, and data-visual approaches.

The three different reformulations (or "skins") of network streams each lay equal claim to accurately representing ("visualizing") the captured TV matter. Perhaps this emphasizes a contradictory sense of both truth and arbitrariness in the formal manifestations.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Born in 1970 in Indianapolis, Salavon obtained his MFA from Art Institute Chicago (IL). He has had solo exhibitions in New York, Chicago, Los Angeles, Columbus, Washington D.C. Houston, Seattle, Cologne, Seoul, London, Geneva, Basel and Paris, among others, and been featured in exhibitions at venues such as the Metropolitan Museum of Art (NY), Smithsonian Institution (D.C.), and Los Angeles County Museum of Art (CA). Salavon's work has been acquired for the public collections of the International Center of Photography (NY), Whitney Museum of American Art (NY), Los Angeles County Museum of Art (CA), Museum of Fine Arts (TX), Museum of Contemporary Art (IL), the Metropolitan Museum of Art (NY), Columbus Museum of Art (OH), Cleveland Museum of Art (OH) and more. In 2013, he was named one of the "50 Under 50: The Next Most Collectible Artists" by Art + Auction Magazine. Salavon lives and works in Chicago, IL.

Reconsidering a promise to stop making these types of pieces (begun in 1997), the project belongs to a large suite of works (including murals, prints, books & video) reorganizing and manipulating episodes of The Simpsons - as data - in related, but varied ways. The overall project represents the synthesis and unification of my amalgamation work (Playboys, Homes, etc.) with my color-averaged frame work (Titanic, EAO, etc).

By varying parameters, a single software process produces compositions capable of a huge breadth (all the ways) of data representation. Most importantly, it maps a contiguous space inhabited by these previously distinct styles.

We're currently exploring these frames and audio tracks with deep networks...more to come.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Reconsidering a promise to stop making these types of pieces (begun in 1997), the project belongs to a large suite of works (including murals, prints, books & video) reorganizing and manipulating episodes of The Simpsons - as data - in related, but varied ways. The overall project represents the synthesis and unification of my amalgamation work (Playboys, Homes, etc.) with my color-averaged frame work (Titanic, EAO, etc).

By varying parameters, a single software process produces compositions capable of a huge breadth (all the ways) of data representation. Most importantly, it maps a contiguous space inhabited by these previously distinct styles.

We're currently exploring these frames and audio tracks with deep networks...more to come.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Reconsidering a promise to stop making these types of pieces (begun in 1997), the project belongs to a large suite of works (including murals, prints, books & video) reorganizing and manipulating episodes of The Simpsons - as data - in related, but varied ways. The overall project represents the synthesis and unification of my amalgamation work (Playboys, Homes, etc.) with my color-averaged frame work (Titanic, EAO, etc).

By varying parameters, a single software process produces compositions capable of a huge breadth (all the ways) of data representation. Most importantly, it maps a contiguous space inhabited by these previously distinct styles.

We're currently exploring these frames and audio tracks with deep networks...more to come.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Reconsidering a promise to stop making these types of pieces (begun in 1997), the project belongs to a large suite of works (including murals, prints, books & video) reorganizing and manipulating episodes of The Simpsons - as data - in related, but varied ways. The overall project represents the synthesis and unification of my amalgamation work (Playboys, Homes, etc.) with my color-averaged frame work (Titanic, EAO, etc).

By varying parameters, a single software process produces compositions capable of a huge breadth (all the ways) of data representation. Most importantly, it maps a contiguous space inhabited by these previously distinct styles.

We're currently exploring these frames and audio tracks with deep networks...more to come.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

This print amalgamates every single "couch gag" from the first 26 seasons of The Simpsons.

Reconsidering a promise to stop making these types of pieces (begun in 1997), the project belongs to a large suite of works (including murals, prints, books & video) that reorganize and manipulate episodes of The Simpsons - as data (1989-2015, 574 episodes, 17.7M frames) - in related, but varied ways. The overall project represents the synthesis and unification of my amalgamation work (Playboys,Homes, etc.) with my color-averaged frame work (Titanic, EAO, etc).

By varying parameters, a single software process produces compositions capable of a huge breadth (all the ways) of data representation. Most importantly, it maps a contiguous space inhabited by these previously distinct styles.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

A simple project containing 64 anonymous head-shots of people with the surname of either Smith or Jones, arranged in a checkerboard pattern.

This piece concerns circumstances of hidden, but concrete, information shaping outward perception (e.g. the phenotypic vs genotypic). Or maybe it pertains to cases of lawyerly theoritical arguments (of uncertain lasting value) surrounding and influencing the understanding of autonomous objects.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

A diptych of diametric opposition - statistically speaking. The left panel contains ~25k thumbnail pictures (arranged a la sunburst) gathered through image search for the 100 most positive words in English1. The right panel is structurally isomorphic to the left, but sources the 100 most negative words.2

Each radiating stripe (pie wedge) contains images for an individual (good or evil) term. The video monitors serve to annotate by rotating through all of the unique files, ranging from the lovely to the prosaic to the grotesque and horrific.

Using software processes of his own design, Jason Salavon generates and reconfigures masses of communal material to present new perspectives on the familiar. Though formally varied, his projects frequently manipulate the roles of individual elements derived from diverse visual populations. This often unearths unexpected patterns in the relationship between the part and the whole, the individual and the group. Reflecting a natural attraction to popular culture and the day-to-day, his work regularly incorporates the use of common references and source material. Often, the final compositions are exhibited as art objects – such as photographic prints and video installations – while others exist in a real-time software context.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.

In his work from “Little Infinities” continues Jason Salavon's pioneering, multi-decade use of data and algorithms in the creation of visual art. Throughout this time, his work has unearthed unseen pattern, habit, and structure within our culture and daily life. The works in this exhibition broaden this exploration, critically probing the proliferation of image data, the historical structures of narrative, and the creative potential of the current Artificial Intelligence revival.

In this series of suites of prints, real-time videos, and wallpapers, collectively titled “Narrative Frame”, Salavon addresses three primary historical structures used for the propagation of
narrative: illuminated manuscripts, newspapers, and websites. Produced using self-authored neural network software, the works provide insight into the literal shapes and structure we've used to tell one another stories through time. In this particular piece from this body of work, we are focused on Salavon’s Illuminated Manuscript works.