David Moy

David Moy

My work stems from my discomfort with the current age of burnout, image overload, and the resultant disorientation and fatigue within the current image based culture. This sort of relationship has been vicious in the ways before behavior modification and hyper consumerism. Through my output of text and printed media I question the compounding nature of these modes by materially challenging the process of printing. By forming images, videos, and phrases that seek our attention, I revise their methods of control. Images are sticky, they inform us and we inform it. They are near-perfect reflections, not the real thing. A pipe is not a pipe. Through optimization and high efficiency standards, they live a pervasive existence to us, as something faster, stronger, shorter than the media that came before, often leading to a mass psycho confusion. Images have the power to progress culture but also to manipulate it in other directions. Images supplant memory which in turn supplant history. I make images to question images, I make text to question text. Both of these staples of media ‘wound and seduce me’.

 I utilize current digital printing processes to actualize the work; by the use of the same technology, I am reverting their powers of reproduction to suit my needs of negation as well as forcing the same image systems to participate in their own critique. Through the processes of amalgamation, obfuscation, and erasure, I leave behind a document that requires meditation and a prolonged viewing. In some cases, a document that discusses the relationship to images and texts to us, the viewer. In the effort to question our own presumptions. Within the present moment of media dominance, the attention industry, alternative facts, and individualization, I question how we have become submissive through the culture created by companies trapping their user’s value for monetary or political gains. Through that, what kind of separations from other people have occurred through the ever connected world? What kind of projections do we see in other people and ourselves? How have those consequences intruded into our offline minds? I must stack, blur, erase, age and bleed the image to question its original power and create a tangible sensation. I continue to negotiate what to believe at any moment, when facts become obscured from multiple sources and how to move forward with the weight of previous afterimages in contrast to the anxieties of future forecasts. In hopes to find the human in the mirrored funhouse.

Moy received a BFA from Tyler School of Art in Philadelphia and a MFA from Hunter College in New York City. Moy has held exhibitions in New York, Philadelphia, Brussels and France.

david.moy.print(at)gmail.com