“Inversion 14 is a unique print from a fascinating series of lens-based artworks that represent the everyday urban scenery of lower Manhattan. This inventive work seems to be a contemporary revival of French photojournalism of the 20th century, with Young playing the part of a modern flâneur who seizes moments from the ordinary landscape while wandering in the city. Young challenges the norms of traditional photography, long considered the faithful representation of reality, in favor of a more subjective way of seeing the world. Young plays on the notion of reality and perception. Experimenting with the medium of photography, the artist uses an innovative technique by which he modifies, doubles, and inverts the pictures so that his pieces can be hung upside down. The resulting image, characterized by oversaturated colors, invites the viewer to see the city anew, linking art with documentary photography.”

- Giuliana la Monaca, Sotheby’s Institute of Art, M.A. Art Business, Student, New York.

"Inversion 14 (2017) doubles and inverts vernacular urban landscape photographs of lower Manhattan in-camera. Each print is exposed by hand. No two prints are identical. As an invitation for a collector to interact with the work, Inversion 14 can be installed in a variety of orientations, all valid, with any of the edge-pairs placed parallel to ground or rotated into a diamond position. Life can often feel like being marooned between wars of subjective realities, which, as it turns out, may be the only existing reality: Your ground might be my sky, and vice versa."

- H Spencer Young

Memories of the Future, 2020

Archival pigment print on dibond, UV plexi face mount, aluminum brace
48h x 36.5w in (121.9h x 92.7w cm)
Ed: 3 + AP
Signed verso

Included in Museum of Contemporary Art Detroit (MOCAD) Rapid Response Group Show, March, 2020
Curator: Wayne Northcross

Memories of the Future, 2020 is a full roll of medium format transparency film, in shooting order, presented as object, in contemplation of indexicality. By foregrounding the objecthood of the image carrier, as well as the incongruity in the natural juxtapositions of the images, the work evokes a contradictory analog pixellation, as if a Jumbotron exploded, and a chunk of pixels remained, with the overall picture totally unclear.

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Severe Clear, 2019


Chromogenic digital luminogram
Maple frame, dibond, museum glass (artist framing)
43h x 63w x 2d in (109.22h x 160.02w x 5.08d cm)
Ed: 4 + 2AP

Exhibited at
Harlen Levy Projects, Brussels, BE
and District Gallery, Cleveland, OH

Nexus, 2014 is part of an ongoing investigation of gesture and mark-making using computational photographic processes only. In this work, elements of nature are collaged into a technologically influenced state. Vernacular images of the sky are doubled, inverted and combined, employing compositing and compression, as well as chance, to draw with, and remix, natural elements until the desired composition is reached.

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