“My work is solitary, yet created in public places, where it bears witness to a global transformation.”—Chris Kitze
In The Electric Image: After the End of Photography, Chris Kitze explores the intersections of technology, media and popular culture. Investigating urban centers where store windows and monumental advertising images are a worldwide phenomenon and a part of modern mythology, Kitze reveals how the numerical representation of imagery makes it possible for everything and anyone to be everywhere. With the four-by-five-foot backlit images that will be featured in each window of The powerHouse boilerRoom, Kitze’s work illustrates the transformation and globalization of culture by digital technology.
Although fascinated by digital forms, Kitze does not apply the technology to his work. Instead, he allows these objects to reflect and collide with one another, creating an improvisational mise-en- scène replete with unintended meaning and ambivalence. Questioning the new realism of digital media and its manipulation of desire and fear through the use of familiar icons and archetypes, The Electric Image exposes how easily one can appropriate, manipulate, and distribute the digital image, challenging photography¹s traditions of originality and authority. What emerges is a new visual mythology not unlike software, which is malleable in the hands of a user and transformative of cultures.